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F120R
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Roland F-120R User Manual

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MIDI Implementation
Model: F-120R, RP301R
Date: Jun. 28, 2012
Version: 1.00
1. Receive Data
■ Channel Voice Messages
●Note o
n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = note o velocity: 00H-7FH (0-127)
●Note on
n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = note on velocity: 01H-7FH (1-127)
* Not received when Rx. NOTE MESSAGE = OFF. (Initial value is ON)
●Polyphonic Key Pressure
n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = key pressure: 00H-7FH (0-127)
* Not received when Rx. POLY PRESSURE (PAf) = OFF. (Initial value is ON) * The resulting e ect is determined by System Exclusive messages. With the initial
settings, there will be no e ect.
* Some other GS devices do not recognize the Bank Select LSB (Controller number
32).
❍ Modulation (Controller Number 1)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Modulation depth: 00H-7FH (0-127)
* Not received when Rx. MODULATION = OFF. (Initial value is ON) * The resulting e ect is determined by System Exclusive messages. With the initial
settings, this is Pitch Modulation Depth.
❍ Portamento Time (Controller Number 5)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Portamento Time: 00H-7FH (0-127), Initial value = 00H (0)
* This adjusts the rate of pitch change when Portamento is ON or when using the
Portamento Control. A value of 0 results in the fastest change.
❍ Data Entry (Controller Number 6, 38)
n = MIDI channel number: 0H-FH (ch.1-ch.16) mm, ll = the value of the parameter speci ed by RPN/NRPN mm = MSB, ll = LSB
❍ Volume (Controller Number 7)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Volume: 00H-7FH (0-127), Initial Value = 64H (100)
* Volume messages are used to adjust the volume balance of each Part. * Not received when Rx. VOLUME = OFF. (Initial value is ON)
●Control Change
* When Rx. CONTROL CHANGE = OFF, all control change messages except for
Channel Mode messages will be ignored.
* The value speci ed by a Control Change message will not be reset even by a
Program Change, etc.
❍ Bank Select (Controller Number 0, 32)
n = MIDI channel number: 0H-FH (ch.1-ch.16) mm, ll = Bank number: 00H, 00H-7FH, 7FH (bank.1-bank.16384), Initial Value = 00 00H (bank.1)
* Not received when Rx. BANK SELECT = OFF. * “Rx. BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select message will
be ignored. * “Rx. BANK SELECT” is set to ON by “GM2 System On.” * “Rx. BANK SELECT” is set to ON by power-on Reset or by receiving “GS RESET.” * When Rx. BANK SELECT LSB = OFF, Bank number LSB (llH) will be handled as 00H
regardless of the received value. However, when sending Bank Select messages,
you have to send both the MSB (mmH) and LSB (llH, the value should be 00H)
together. * Bank Select processing will be suspended until a Program Change message is
received. * The GS format “Variation number” is the value of the Bank Select MSB (Controller
number 0) expressed in decimal.
❍ Pan (Controller Number 10)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = pan: 00H-40H-7FH (Left-Center-Right), Initial Value = 40H (Center)
* Some Tones are not capable of being panned all the way to the left or right. * Not received when Rx. PANPOT = OFF. (Initial value is ON)
❍ Expression (Controller Number 11)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Expression: 00H-7FH (0-127), Initial Value = 7FH (127)
* This adjusts the volume of a Part. It can be used independently from Volume
messages. Expression messages are used for musical expression within a performance; e.g., expression pedal movements, crescendo and decrescendo.
* Not received when Rx. EXPRESSION = OFF. (Initial value is ON)
1PS
Copyright © 2012 ROLAND EUROPE
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND EUROPE.
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MIDI Implementation
❍ Hold 1 (Controller Number 64)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)
* Not received when Rx. HOLD1 = OFF. (Initial value is ON)
❍ Portamento (Controller Number 65)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON
* Not received when Rx. PORTAMENTO = OFF. (Initial value is ON)
❍ Sostenuto (Controller Number 66)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON
* Not received when Rx. SOSTENUTO = OFF. (Initial value is ON)
❍ Soft (Controller Number 67)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)
* Not received when Rx. SOFT = OFF. (Initial value is ON) * Some Tones will not exhibit any change.
❍ Filter Resonance (Controller Number 71)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv= Resonance value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)
* Some Tones will not exhibit any change.
❍ Release Time (Controller Number 72)
❍ Cuto (Controller Number 74)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Cuto value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)
* Some Tones will not exhibit any change.
❍ Decay Time (Controller Number 75)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Decay Time value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)
* Some Tones will not exhibit any change.
❍ Vibrato Rate (Controller Number 76)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Vibrato Rate value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)
* Some Tones will not exhibit any change.
❍ Vibrato Depth (Controller Number 77)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Vibrato Depth Value (relative change): 00H-7FH(-64 - 0 - +63), Initial Value = 40H (no change)
* Some Tones will not exhibit any change.
❍ Vibrato Delay (Controller Number 78)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Vibrato Delay value (relative change): 00H-7FH(-64 - 0 - +63), Initial value=40H (no change)
* Some Tones will not exhibit any change.
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Release Time value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)
* Some Tones will not exhibit any change.
❍ Attack Time (Controller Number 73)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Attack time value (relative change): 00H-7FH(-64 - 0 - +63), Initial value=40H (no change)
* Some Tones will not exhibit any change.
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MIDI Implementation
❍ Portamento Control (Controller Number 84)
n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = source note number: 00H-7FH (0-127)
* A Note-on received immediately after a Portamento Control message will change
continuously in pitch, starting from the pitch of the Source Note Number. * If a voice is already sounding for a note number identical to the Source Note
Number, this voice will continue sounding (i.e., legato) and will, when the next
Note-on is received, smoothly change to the pitch of that Note-on. * The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
Example 1. On MIDI Description Result 90 3C 40 Note on C4 C4 on B0 54 3C Portamento no change (C4 voice still sounding) Control from C4 90 40 40 Note on E4 glide from C4 to E4 80 3C 40 Note o C4 no change 80 40 40 Note o E4 E4 o
Example 2. On MIDI Description Result B0 54 3C Portamento no change Control from C4 90 40 40 Note on E4 E4 is played with glide from C4 to E4 80 40 40 Note o E4 E4 o
❍ E ect 1 (Reverb Send Level) (Controller Number 91)
Status 2nd bytes 3rd byte BnH 5BH vvH
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value : 00H-7FH (0-127), Initial Value = 28H (40)
parameter. Refer to Section 4. Supplementary material “Examples of actual MIDI messages” <Example 4>. On the GS devices, Data entry LSB (llH) of NRPN (contrpller number 38) is ignored, so it is no problem to send Data entry MSB (mmH) only without Data entry LSB (controller number 6).
On this instrument, NRPN can be used to modify the following parameters.
NRPN Data entry MSB LSB MSB Description 01H 08H mmH Vibrato Rate (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 09H mmH Vibrato Depth (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 0AH mmH Vibrato Delay (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 20H mmH TVF Cuto Frequency (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 21H mmH TVF Resonance (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 63H mmH TVF & TVA Envelope Attack Time (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 64H mmH TVF & TVA Envelope Decay Time (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 66H mmH TVF & TVA Envelope Release Time (relative change) mm: 0EH-40H-72H (-50 - 0 - +50)
* Parameters marked “relative change” will change relatively to the preset value(40H).
Even among di erent GS devices, “relative change” parameters may sometimes di er in the way the sound changes or in the range of change.
* Parameters marked “absolute change” will be set to the absolute value of the
parameter, regardless of the preset value.
* Data entry LSB (llH) is ignored.
* This message adjusts the Reverb Send Level of each Part.
❍ E ect 3 (Chorus Send Level) (Controller Number 93)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127), Initial Value = 00H (0)
* This message adjusts the Chorus Send Level of each Part.
❍ NRPN MSB/LSB (Controller Number 98, 99)
n = MIDI channel number: 0H-FH (ch.1-ch.16) mm = upper byte (MSB) of the parameter number speci ed by NRPN ll = lower byte (LSB) of the parameter number speci ed by NRPN
* Rx. NRPN is set to OFF by power-on reset or by receiving “GM1 System On” or “GM2
System On,” and NRPN message will be ignored. NRPN message will be received
when Rx. NRPN = ON, or by receiving “GS RESET.” * The value set by NRPN will not be reset even if Program Change or Reset All
Controllers is received.
**NRPN** The NRPN (Non Registered Parameter Number) message allows an extended range of control changes to be used. To use these messages, you must  rst use NRPN MSB and NRPN LSB messages to specify the parameter to be controlled, and then use Data Entry messages to specify the value of the speci ed parameter. Once an NRPN parameter has been speci ed, all Data Entry messages received on that channel will modify the value of that parameter. To prevent accidents, it is recommended that you set RPN Null (RPN Number = 7FH/7FH) when you have  nished setting the value of the desired
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MIDI Implementation
❍ RPN MSB/LSB (Controller Number 100, 101)
n = MIDI channel number: 0H-FH (ch.1-ch.16) mm = upper byte (MSB) of parameter number speci ed by RPN ll = lower byte (LSB) of parameter number speci ed by RPN
* Not received when Rx. RPN = OFF. (Initial value is ON) * The value speci ed by RPN will not be reset even by messages such as Program
Change or Reset All Controller.
**RPN** The RPN (Registered Parameter Number) messages are expanded control changes, and each function of an RPN is described by the MIDI Standard. To use these messages, you must  rst use RPN MSB and RPN LSB messages to specify the parameter to be controlled, and then use Data Entry messages to specify the value of the speci ed parameter. Once an RPN parameter has been speci ed, all Data Entry messages received on that channel will modify the value of that parameter. To prevent accidents, it is recommended that you set RPN Null (RPN Number = 7FH/7FH) when you have  nished setting the value of the desired parameter. Refer to Section 4. “Examples of actual MIDI messages” <Example 4>
On this instrument, RPN can be used to modify the following parameters.
RPN Data entry MSB LSB MSB LSB Explanation 00H 00H mmH --- Pitch Bend Sensitivity mm: 00H-18H (0-24 semitones), Initial Value = 02H (2 semitones) ll: ignored (processed as 00h) specify up to 2 octaves in semitone steps 00H 01H mmH llH Master Fine Tuning mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.99 cents), Initial Value = 40 00H (0 cent) ll: ignored (processed as 00h) specify up to 2 octaves in semitone steps Refer to 4. Supplementary Material, “About Tuning” 00H 02H mmH --- Master Coarse Tuning mm: 28H - 40H - 58H (-24 - 0 - +24 semitones), Initial Value = 40H (0 cent) ll: ignored (processed as 00h) 00H 05H mmH llH Modulation Depth Range mm: 00H - 04H (0 - 4 semitones) ll: 00H - 7FH (0 - 100 cents) 100/128 Cent/Value 7FH 7FH --- --- RPN null Set condition where RPN and NRPN are unspeci ed. The data entry messages after set RPN null will be ignored. (No Data entry messages are required after RPN null). Settings already made will not change. mm, ll: ignored
●Channel Pressure
Status 2nd byte DnH vvH
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Channel Pressure : 00H-7FH (0-127)
* Not received when Rx. CH PRESSURE (CAf) = OFF. (Initial value is ON) * The resulting e ect is determined by System Exclusive messages. With the initial
settings there will be no e ect.
●Pitch Bend Change
n = MIDI channel number: 0H-FH (ch.1-ch.16) mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
* Not received when Rx. PITCH BEND = OFF. (Initial value is ON) * The resulting e ect is determined by System Exclusive messages. With the initial
settings the e ect is Pitch Bend.
■ Channel Mode Messages
●All Sounds O (Controller number 120)
n = MIDI channel number: 0H-FH (ch.1-ch.16)
* When this message is received, all currently-sounding notes on the corresponding
channel will be turned o immediately.
●Reset All Controllers (Controller Number 121)
n = MIDI channel number: 0H-FH (ch.1-ch.16)
* When this message is received, the following controllers will be set to their reset
values.
Controller Reset value Pitch Bend Change ±0 (Center) Polyphonic Key Pressure 0 (o ) Channel Pressure 0 (o ) Modulation 0 (o ) Expression 127 (max) Hold 1 0 (o ) Portamento 0 (o ) Sostenuto 0 (o ) Soft 0 (o ) RPN unset; previously set data will not change NRPN unset; previously set data will not change
●Program Change
Status 2nd byte CnH ppH
n = MIDI channel number: 0H-FH (ch.1-ch.16) pp = Program number: 00H-7FH (prog.1-prog.128)
* Not received when Rx. PROGRAM CHANGE = OFF. (Initial value is ON) * After a Program Change message is received, the sound will change beginning with
the next Note-on. Voices already sounding when the Program Change message was received will not be a ected.
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●Local Control (Controller Number 122)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H, 7FH (0,127) 00H: Local O 7FH: Local On
MIDI Implementation
●All Notes O (Controller Number 123)
n = MIDI channel number: 0H-FH (ch.1-ch.16)
* When All Notes O is received, all notes on the corresponding channel will be
turned o . However if Hold 1 or Sostenuto is ON, the sound will be continued until
these are turned o .
●OMNI OFF (Controller Number 124)
n = MIDI channel number: 0H-FH (ch.1-ch.16)
* The same processing will be carried out as when All Notes O is received.
●OMNI ON (Controller Number 125)
n = MIDI channel number: 0H-FH (ch.1-ch.16)
* OMNI ON is only recognized as “All notes o ”; the Mode doesn’t change (OMNI OFF
remains).
■ System Exclusive Message
Status Data byte Status
F0H iiH, ddH, ......, eeH F7H
F0H: System Exclusive Message status ii = ID number: An ID number (manufacturer ID) to indicate the manufacturer
whose Exclusive message this is. Roland’s manufacturer ID is 41H. ID numbers 7EH and 7FH are extensions of the MIDI standard; Universal Non-realtime Messages (7EH) and Universal
Realtime Messages (7FH). dd,...,ee = data: 00H-7FH (0-127) F7H: EOX (End Of Exclusive)
The System Exclusive Messages received by this instrument are; messages related to mode settings, Universal Realtime System Exclusive messages, Universal Non­realtime System Exclusive messages and Data Set (DT1).
●System Exclusive Messages Related to Mode Settings
These messages are used to initialize a device to GS or General MIDI mode, or change the operating mode. When creating performance data, a “GM1 System On” message should be inserted at the beginning of a General MIDI 1 score, a “GM2 System On” message at the beginning of a General MIDI 2 score, and a “GS Reset” message at the beginning of a GS music data. Each song should contain only one mode message as appropriate for the type of data. (Do not insert two or more mode setting messages in a single song.) “GM System On” uses Universal Non-realtime Message format. “GS Reset” uses Roland system Exclusive format “Data Set 1 (DT1).”
●MONO (Controller Number 126)
n = MIDI channel number: 0H-FH (ch.1-ch.16) mm = mono number : 00H-10H (0-16)
* The same processing will be carried out as when All Sounds O and All Notes O is
received, and the corresponding channel will be set to Mode 4 (M = 1) regardless of the value of “mono number.”
●POLY (Controller Number 127)
n = MIDI channel number: 0H-FH (ch.1-ch.16)
* The same processing will be carried out as when All Sounds O and All Notes O is
received, and the corresponding channel will be set to Mode 3.
■ System Realtime Message
●Active Sensing
Status FEH
* When Active Sensing is received, the unit will begin monitoring the intervals of
all further messages. While monitoring, if the interval between messages exceeds 420 ms, the same processing will be carried out as when All Sounds O , All Notes O and Reset All Controllers are received, and message interval monitoring will be halted.
❍ GM1 System On
This is a command message that resets the internal settings of the unit to the General MIDI initial state (General MIDI System-Level 1). Status Data byte Status F0H 7EH, 7FH, 09H, 01H F7H
Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcast) 09H Sub ID#1 (General MIDI Message) 01H Sub ID#2 (General MIDI 1 On) F7H EOX (End Of Exclusive)
* When this message is received, Rx. BANK SELECT will be OFF and Rx. NRPN will be
OFF.
* There must be an interval of at least 50 ms between this message and the next.
❍ GM2 System On
This is a command message that resets the internal settings of the unit to the General MIDI initial state (General MIDI System-Level 2). Status Data byte Status F0H 7EH 7FH 09H 03H F7H
Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcast) 09H Sub ID#1 (General MIDI Message) 03H Sub ID#2 (General MIDI 2 On) F7H EOX (End Of Exclusive)
* When this message is received, this instrument will be able to receive the messages
speci ed by General MIDI 2, and use the General MIDI 2 soundmap.
* There must be an interval of at least 50 ms between this message and the next.
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MIDI Implementation
❍ GM System O
“GM System O ” is a command message that resets the internal state of this instrument from the GM state to its native condition. This instrument will reset to the GS default state.
Status Data byte Status F0H 7EH, 7FH, 09H, 02H F7H
Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcast) 09H Sub-ID#1 (General MIDI message) 02H Sub-ID#2 (General MIDI O ) F7H EOX (End of exclusive)
* There must be an interval of at least 50 ms between this message and the next.
❍ GS reset
GS Reset is a command message that resets the internal settings of a device to the GS initial state.
Status Data byte Status F0H 41H, 10H, 42H, 12H, 40H, F7H 00H - 7FH, 00H, 41H
Byte Explanation F0H Exclusive status 41H ID number (Roland) 10H Device ID (dev: 00H-1FH (1-32), Initial value is 10H (17)) 42H Model ID (GS) 12H Command ID (DT1) 40H Address MSB 00H Address 7FH Address LSB 00H Data (GS reset) 41H Checksum F7H EOX (End Of Exclusive)
* When this message is received, Rx. NRPN will be ON. * There must be an interval of at least 50 ms between this message and the next.
❍ Master Fine Tuning
Status Data byte Status F0H 7FH, 7FH, 04H, 03H, llH, mmH F7H
Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 03H Sub ID#2 (Master Fine Tuning) llH Master Fine Tuning LSB mmH Master Fine Tuning MSB F7H EOX (End Of Exclusive)
llH, mmH: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
❍ Master Coarse Tuning
Status Data byte Status F0H 7FH, 7FH, 04H, 04H, llH, mmH F7H
Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 04H Sub ID#2 (Master Coarse Tuning) llH Master Coarse Tuning LSB mmH Master Coarse Tuning MSB F7H EOX (End Of Exclusive)
llH: ignored (processed as 00H) mmH: 28H - 40H - 58H (-24 - 0 - +24 [semitones])
●Global Parameter Control
Parameters of the Global Parameter Control are newly provided for the General MIDI
2.
❍ Reverb Parameters
Status Data byte Status F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H 01H, 01H, 01H, ppH, vvH
●Universal Realtime System Exclusive Messages
❍ Master volume
Status Data byte Status F0H 7FH, 7FH, 04H, 01H, llH, mmH F7H
Byte Explanation F0H Exclusive status 7FH ID number (universal realtime message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control messages) 01H Sub ID#2 (Master Volume) llH Master volume lower byte mmH Master volume upper byte F7H EOX (End Of Exclusive)
llH: ignored (processed as 00H) mmH: 00H - 7FH 0 - 127
* The lower byte (llH) of Master Volume will be handled as 00H.
Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 05H Sub ID#2 (Global Parameter Control) 01H Slot path length 01H Parameter ID width 01H Value width 01H Slot path MSB 01H Slot path LSB (E ect 0101: Reverb) ppH Parameter to be controlled. vvH Value for the parameter. F7H EOX (End Of Exclusive)
pp=0 Reverb Type vv = 00H Small Room (Room1) vv = 01H Medium Room (Room2) vv = 02H Large Room (Room3) vv = 03H Medium Hall (Hall1) vv = 04H Large Hall (Hall2) vv = 08H Plate (Plate)
pp=1 Reverb Time vv = 00H - 7FH 0 - 127
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MIDI Implementation
❍ Chorus Parameters
Status Data byte Status F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H 01H, 01H, 02H, ppH, vvH
Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 05H Sub ID#2 (Global Parameter Control) 01H Slot path length 01H Parameter ID width 01H Value width 01H Slot path MSB 02H Slot path LSB (E ect 0102: Chorus) ppH Parameter to be controlled. vvH Value for the parameter. F7H EOX (End Of Exclusive)
pp=0 Chorus Type vv=0 Chorus1 vv=1 Chorus2 vv=2 Chorus3 vv=3 Chorus4 vv=4 FB Chorus vv=5 Flanger
pp=1 Mod Rate vv= 00H - 7FH 0 - 127 pp=2 Mod Depth vv = 00H - 7FH 0 - 127 pp=3 Feedback vv = 00H - 7FH 0 - 127 pp=4 Send To Reverb vv = 00H - 7FH 0 - 127
❍ Channel Pressure
Status Data byte Status F0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H
Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 09H Sub ID#1 (Controller Destination Setting) 01H Sub ID#2 (Channel Pressure) 0nH MIDI Channel (00 - 0F) ppH Controlled parameter rrH Controlled range F7H EOX (End Of Exclusive)
pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cuto Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200 [%] pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100 [%]
❍ Controller
Status Data byte Status F0H 7FH, 7FH, 09H, 03H, 0nH, ccH, F7H ppH, rrH
Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 09H Sub ID#1 (Controller Destination Setting) 03H Sub ID#2 (Control Change) 0nH MIDI Channel (00 - 0F) ccH Controller number (01 - 1F, 40 - 5F) ppH Controlled parameter rrH Controlled range F7H EOX (End Of Exclusive)
pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cuto Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200 [%] pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100 [%]
❍ Scale/Octave Tuning Adjust
Status Data byte Status F0H 7EH, 7FH, 08H, 08H,  H, ggH, F7H hhH, ssH...
Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcast) 08H Sub ID#1 (MIDI Tuning Standard) 08H Sub ID#2 (scale/octave tuning 1-byte form)  H Channel/Option byte1 bits 0 to 1 = channel 15 to 16 bit 2 to 6 = Unde ned ggH Channel byte2 bits 0 to 6 = channel 8 to 14 hhH Channel byte3 bits 0 to 6 = channel 1 to 7 ssH 12 byte tuning o set of 12 semitones from C to B 00H = -64 [cents] 40H = 0 [cents] (equal temperament) 7FH = +63 [cents] F7H EOX (End Of Exclusive)
●Universal Non-realtime System Exclusive Messages
❍ Identity Request Message
Status Data byte Status F0H 7EH, 10H, 06H, 01H F7H
Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 10H Device ID 06H Sub ID#1 (General Information) 01H Sub ID#2 (Identity Request) F7H EOX (End Of Exclusive)
* Device ID = 10H or 7FH
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MIDI Implementation
●Data Transmission
This instrument can receive the various parameters using System Exclusive messages. The exclusive message of GS format data has a model ID of 42H and a device ID of 10H (17), and it is common to all the GS devices.
❍ Data Set 1 (DT1)
This is the message that actually performs data transmission, and is used when you wish to transmit the data.
Status Data byte Status F0H 41H, 10H, 42H, 12H, aaH, bbH, F7H ccH, ddH, ... eeH, sum
Byte Explanation F0H Exclusive status 41H ID number (Roland) 10H Device ID 42H Model ID (GS) 12H Command ID (DT1) aaH Address MSB: upper byte of the starting address of the transmitted data bbH Address: middle byte of the starting address of the transmitted data ccH Address LSB: lower byte of the starting address of the transmitted data ddH Data: the actual data to be transmitted. Multiple bytes of data are transmitted starting from the address. : : eeH Data sum Checksum F7H EOX (End Of Exclusive)
* The amount of data that can be transmitted at one time depends on the type of
data, and data can be received only from the speci ed starting address and size. Refer to the Address and Size given in Section 3.
* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If
“Data Set 1” is transmitted successively, there must be an interval of at least 40 ms between packets.
* Regarding the checksum, please refer to section 4 .
2. Transmit Data
■ Channel Voice Messages
●Note O
n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = note o velocity: 00H-7FH (0-127)
●Note On
n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = note on velocity: 01H-7FH (1-127)
●Control Change
❍ Bank Select (Controller Number 0, 32)
n = MIDI channel number: 0H-FH (ch.1-ch.16) mm, ll = Bank number: 00H, 00H-7FH, 7FH (bank.1-bank.16384)
❍ Expression (Controller number 11)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)
❍ Hold 1 (Controller Number 64)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)
❍ Sostenuto (Controller Number 66)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H, 7FH (0, 127) 0 = OFF, 127 = ON
❍ Soft (Controller Number 67)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)
❍ E ect 1 (Reverb Send Level) (Controller Number 91)
n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)
●Program Change
Status 2nd byte CnH ppH
8
n = MIDI channel number: 0H-FH (ch.1-ch.16) pp = Program number: 00H-7FH (prog.1-prog.128)
■ System Realtime Message
●Realtime Clock
Status F8H
●Start
Status FAH
●Continue
Status FBH
●Stop
Status FCH
●Active Sensing
Status FEH
MIDI Implementation
* This will be transmitted constantly at intervals of approximately 250 ms.
■ System Exclusive Messages
❍ Identity Reply
Status Data byte Status F0H 7EH, 10H, 06H, 02H, 41H, 42H, 00H, 00H, F7H 1DH, 00H, 01H, 00H, 00H
Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 10H Device ID (use the same as the device ID of Roland) 06H Sub ID#1 (General Information) 02H Sub ID#2 (Identity Reply) 41H ID number (Roland) 42H Device family code (LSB) 00H Device family code (MSB) 00H Device family number code (LSB) 1DH Device family number code (MSB) 00H Software revision level 01H Software revision level 00H Software revision level 00H Software revision level F7H EOX (End of Exclusive)
9
MIDI Implementation
3. Parameter Address Map (Model ID = 42H)
This map indicates address, size, Data (range), Parameter, Description, and Default Value of parameters which can be transferred using and “Data set 1 (DT1).” All the numbers of address, size, Data, and Default Value are indicated in 7-bit Hexadecimal-form.
■ Address Block Map
An outlined address map of the Exclusive Communication is as follows;
+------------+------------------------------------+ | Address (H)| Block | +------------+------------------------------------+ | 40 00 00 | | | | SYSTEM PARAMETERS | Individual | 40 01 3F | | +------------+------------------------------------+ +------------+------------------------------------+ | 40 1x 00 | | | | PART PARAMETERS (x = 0-F) | Individual | 40 2x 5A | | +------------+------------------------------------+ +------------+------------------------------------+ | 48 00 00 | | | | SYSTEM PARAMETERS | Bulk | | | +------------+------------------------------------+ | 48 01 10 | | | | PART PARAMETERS | Bulk | 48 1D 0F | | +------------+------------------------------------+
There are two ways in which GS data is transmitted: Individual Parameter Transmission in which individual parameters are transmitted one by one, and Bulk Dump Transmission in which a large amount of data is transmitted at once.
■ Individual Parameters
Individual Parameter Transmission transmits data (or requests data) for one parameter as one exclusive message (one packet of “F0 ..... F7”).
In Individual Parameter Transmission, you must use the Address and Size listed in the following “Parameter Address Map.” Addresses marked at “#” cannot be used as starting addresses.
●System Parameters
Parameters related to the system of the device are called System Parameters.
Address (H) Size (H) Data (H) Parameter Description Default Value (H) Description 40 00 00 00 00 04 0018-07E8 MASTER TUNE -100.0 - +100.0 [cent] 00 04 00 00 0 [cent] 40 00 01# Use nibblized data. 40 00 02# 40 00 03#
*Refer to section 4. Supplementary material, “About Tuning.”
40 00 04 00 00 01 00-7F MASTER VOLUME 0-127 7F 127 (= F0 7F 7F 04 01 00 vv F7) 40 00 05 00 00 01 28-58 MASTER KEY-SHIFT -24 - +24 [semitones] 40 0 [semitones] 40 00 06 00 00 01 01-7F MASTER PAN -63 (LEFT) - +63 (RIGHT) 40 0 (CENTER) 40 00 7F 00 00 01 00 MODE SET 00 = GS Reset, 127 = Exit GS mode (Rx. only)
* Refer to “System exclusive messages related to mode settings”.
40 01 10 00 00 10 00-40 VOICE RESERVE Part 10 02 2 40 01 11# Part 1 06 6 40 01 12# Part 2 02 2 40 01 13# Part 3 02 2 40 01 14# Part 4 02 2 40 01 15# Part 5 02 2 40 01 16# Part 6 02 2 40 01 17# Part 7 02 2 40 01 18# Part 8 02 2 40 01 19# Part 9 02 2 40 01 1A# Part 11 00 0 40 01 :# : : : 40 01 1F# Part 16 00 0
* The sum total of voices in the voice reserve function must be equal to or less than the number of the maximum polyphony. The maximum polyphony of this instrument is 128.
For compatibility with other GS models, it is recommended that the maximum polyphony be equal or less than 24.
40 01 30 00 00 01 00-07 REVERB MACRO 00: Room 1 04 Hall 2 01: Room 2
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MIDI Implementation
02: Room 3 03: Hall 1 04: Hall 2 05: Plate 06: Delay 07: Panning Delay 40 01 31 00 00 01 00-07 REVERB CHARACTER 0-7 04 4 40 01 32 00 00 01 00-07 REVERB PRE-LPF 0-7 00 0 40 01 33 00 00 01 00-7F REVERB LEVEL 0-127 40 64 40 01 34 00 00 01 00-7F REVERB TIME 0-127 40 64 40 01 35 00 00 01 00-7F REVERB DELAY FEEDBACK 0-127 00 0
* REVERB MACRO is a macro parameter that allows global setting of reverb parameters. When you select the reverb type with REVERB MACRO, each reverb parameter will be set to
the most suitable value.
* REVERB CHARACTER is a parameter that changes the reverb algorithm. The value of REVERB CHARACTER corresponds to the REVERB MACRO of the same number.
40 01 38 00 00 01 00-07 CHORUS MACRO 00: Chorus 1 02 Chorus 3 01: Chorus 2 02: Chorus 3 03: Chorus 4 04: Feedback Chorus 05: Flanger 06: Short Delay 07: Short Delay (FB) 40 01 39 00 00 01 00-07 CHORUS PRE-LPF 0-7 00 0 40 01 3A 00 00 01 00-7F CHORUS LEVEL 0-12 40 64 40 01 3B 00 00 01 00-7F CHORUS FEEDBACK 0-127 08 8 40 01 3C 00 00 01 00-7F CHORUS DELAY 0-127 50 80 40 01 3D 00 00 01 00-7F CHORUS RATE 0-127 03 3 40 01 3E 00 00 01 00-7F CHORUS DEPTH 0-127 13 19 40 01 3F 00 00 01 00-7F CHORUS SEND LEVEL TO REVERB 0-127 00 0
* CHORUS MACRO is a macro parameter that allows global setting of chorus parameters. When you use CHORUS MACRO to select the chorus type, each chorus parameter will be
set to the most suitable value.
40 03 00 00 00 02 00-7F EFX TYPE (MSB, LSB) 00 00 - 7F 7F 00 01 Thru
* Refer to EFX Type Table * This EFX Type is current EFX type of this system. When part EFX type is same to this EFX type, that part connect to EFX.
40 03 03 00 00 01 00-7F EFX Parameter 1 40 03 04 00 00 01 00-7F EFX Parameter 2 40 03 05 00 00 01 00-7F EFX Parameter 3 40 03 06 00 00 01 00-7F EFX Parameter 4 40 03 07 00 00 01 00-7F EFX Parameter 5 40 03 08 00 00 01 00-7F EFX Parameter 6 40 03 09 00 00 01 00-7F EFX Parameter 7 40 03 0A 00 00 01 00-7F EFX Parameter 8 40 03 0B 00 00 01 00-7F EFX Parameter 9 40 03 0C 00 00 01 00-7F EFX Parameter 10 40 03 0D 00 00 01 00-7F EFX Parameter 11 40 03 0E 00 00 01 00-7F EFX Parameter 12 40 03 0F 00 00 01 00-7F EFX Parameter 13 40 03 10 00 00 01 00-7F EFX Parameter 14 40 03 11 00 00 01 00-7F EFX Parameter 15 40 03 12 00 00 01 00-7F EFX Parameter 16 40 03 13 00 00 01 00-7F EFX Parameter 17 40 03 14 00 00 01 00-7F EFX Parameter 18 40 03 15 00 00 01 00-7F EFX Parameter 19 40 03 16 00 00 01 00-7F EFX Parameter 20
* Each parameter will be changed by EFX type. Refer to EFX Parameter Map.
40 03 17 00 00 01 00 - 7F EFX Send Level to Reverb
* Set to 0 when EFX type is changed.
40 03 18 00 00 01 00 - 7F EFX Send Level to Chorus
* Set to 0 when EFX type is changed.
40 03 1A 00 00 01 00 - 7F EFX Depth Dry 100% - EFX 100% 7F
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MIDI Implementation
●Part Parameters
This instrument has 16 parts. Parameters that can be set individually for each Part are called Part parameters. If you use exclusive messages to set Part parameters, specify the address by Block number rather than Part Number (normally the same number as the MIDI channel). The Block number can be speci ed as one of 16 blocks, from 0 (H) to F (H).
The relation between Part number and Block number is as follows.
x...BLOCK NUMBER (0-F), Part 1 (MIDI ch = 1) x = 1 Part 2 (MIDI ch = 2) x = 2 : : : Part 9 (MIDI ch = 9) x = 9 Part10 (MIDI ch = 10) x = 0 Part11 (MIDI ch = 11) x = A Part12 (MIDI ch = 12) x = B : : : Part16 (MIDI ch = 16) x = F
Address (H) Size (H) Data (H) Parameter Description Default Value (H) Description 40 1x 00 00 00 02 00-7F TONE NUMBER CC#00 VALUE 0-127 00 0 40 1x 01# 00-7F P.C. VALUE 1-128 00 1 40 1x 02 00 00 01 00-10 Rx. CHANNEL 1-16, OFF Same as the Part Number 40 1x 03 00 00 01 00-01 Rx. PITCH BEND OFF/ON 01 ON 40 1x 04 00 00 01 00-01 Rx. CH PRESSURE (CAf) OFF/ON 01 ON 40 1x 05 00 00 01 00-01 Rx. PROGRAM CHANGE OFF/ON 01 ON 40 1x 06 00 00 01 00-01 Rx. CONTROL CHANGE OFF/ON 01 ON 40 1x 07 00 00 01 00-01 Rx. POLY PRESSURE (PAf) OFF/ON 01 ON 40 1x 08 00 00 01 00-01 Rx. NOTE MESSAGE OFF/ON 01 ON 40 1x 09 00 00 01 00-01 Rx. RPN OFF/ON 01 ON 40 1x 0A 00 00 01 00-01 Rx. NRPN OFF/ON 00 (01*) OFF (ON*)
* When “GM1 System On” and “GM2 System On” are received, Rx. NRPN will be set OFF. When “GS Reset” is received, it will be set ON.
40 1x 0B 00 00 01 00-01 Rx. MODULATION OFF/ON 01 ON 40 1x 0C 00 00 01 00-01 Rx. VOLUME OFF/ON 01 ON 40 1x 0D 00 00 01 00-01 Rx. PANPOT OFF/ON 01 ON 40 1x 0E 00 00 01 00-01 Rx. EXPRESSION OFF/ON 01 ON 40 1x 0F 00 00 01 00-01 Rx. HOLD1 OFF/ON 01 ON 40 1x 10 00 00 01 00-01 Rx. PORTAMENTO OFF/ON 01 ON 40 1x 11 00 00 01 00-01 Rx. SOSTENUTO OFF/ON 01 ON 40 1x 12 00 00 01 00-01 Rx. SOFT OFF/ON 01 ON
40 1x 13 00 00 01 00-01 MONO/POLY MODE Mono/Poly 01 Poly (= CC# 126 01 / CC# 127 00)
40 1x 16 00 00 01 28-58 PITCH KEY SHIFT -24 - +24 [semitones] 40 0 [semitones] 40 1x 17 00 00 02 00 08-0F 08 PITCH OFFSET FINE -12.0 - +12.0 [Hz] 08 00 (80) 0 [Hz] 40 1x 18# (08-F8) Use nibblized data.
* PITCH OFFSET FINE allows you to alter, by a speci ed frequency amount, the pitch at which notes will sound. This parameter di ers from the conventional Fine Tuning (RPN #1)
parameter in that the amount of frequency alteration (in Hertz) will be identical no matter which note is played. When a multiple number of Parts, each of which has been given a di erent setting for PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste e ect.
40 1x 19 00 00 01 00-7F PART LEVEL 0-127 64 100 (= CC# 7) 40 1x 1A 00 00 01 00-7F VELOCITY SENSE DEPTH 0-127 40 64 40 1x 1B 00 00 01 00-7F VELOCITY SENSE OFFSET 0-127 40 64 40 1x 1C 00 00 01 00-7F PART PANPOT -64 (RANDOM) 40 0 (CENTER)
-63 (LEFT) - +63 (RIGHT ) (= CC# 10, except RANDOM) 40 1x 1D 00 00 01 00-7F KEY RANGE LOW (C-1) - (G9) 00 C-1 40 1x 1E 00 00 01 00-7F KEY RANGE HIGH (C-1) - (G9) 7F G 9 40 1x 1F 00 00 01 00-5F CC1 CONTROLLER NUMBER 0-95 10 16 40 1x 20 00 00 01 00-5F CC2 CONTROLLER NUMBER 0-95 11 17 40 1x 21 00 00 01 00-7F CHORUS SEND LEVEL 0-127 00 0 (= CC# 93) 40 1x 22 00 00 01 00-7F REVERB SEND LEVEL 0-127 28 40 (= CC# 91) 40 1x 23 00 00 01 00-01 Rx. BANK SELECT OFF/ON 01 (00*) ON (OFF*)
* “Rx. BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select message will be ignored. * “Rx. BANK SELECT” is set to ON by “GM2 System On.” * “Rx. BANK SELECT” is set to ON by power-on Reset or by receiving “GS RESET.”
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MIDI Implementation
40 1x 24 00 00 01 00-01 Rx. BANK SELECT LSB OFF/ON 00 OFF
* This instrument can be recognized Bank Select LSB (40H-43H) even if this message is OFF.
40 1x 25 00 00 01 00-01 TONE REMAIN OFF/ON 01 ON 40 1x 28 00 00 03 00-7F Bank Select LSB Range LSB (from) 40 40H 40 1x 29# LSB (to) 43 43H
40 1x 30 00 00 01 0E-72 TONE MODIFY 1 -50 - +50 40 0 Vibrato rate (= NRPN# 8) 40 1x 31 00 00 01 0E-72 TONE MODIFY 2 -50 - +50 40 0 Vibrato depth (= NRPN# 9) 40 1x 32 00 00 01 0E-72 TONE MODIFY 3 -50 - +50 40 0 TVF cuto frequency (= NRPN# 32) 40 1x 33 00 00 01 0E-72 TONE MODIFY 4 -50 - +50 40 0 TVF resonance (= NRPN# 33) 40 1x 34 00 00 01 0E-72 TONE MODIFY 5 -50 - +50 40 0 TVF&TVA Env.attack (= NRPN# 99) 40 1x 35 00 00 01 0E-72 TONE MODIFY 6 -50 - +50 40 0 TVF&TVA Env.decay (= NRPN# 100) 40 1x 36 00 00 01 0E-72 TONE MODIFY 7 -50 - +50 40 0 TVF&TVA Env.release (= NRPN# 102) 40 1x 37 00 00 01 0E-72 TONE MODIFY 8 -50 - +50 40 0 Vibrato delay (= NRPN# 10)
40 1x 40 00 00 0C 00-7F SCALE TUNING C -64 - +63 [cent] 40 0 [cent] 40 1x 41# 00-7F SCALE TUNING C# -64 - +63 [cent] 40 0 [cent] 40 1x 42# 00-7F SCALE TUNING D -64 - +63 [cent] 40 0 [cent] 40 1x 43# 00-7F SCALE TUNING D# -64 - +63 [cent] 40 0 [cent] 40 1x 44# 00-7F SCALE TUNING E -64 - +63 [cent] 40 0 [cent] 40 1x 45# 00-7F SCALE TUNING F -64 - +63 [cent] 40 0 [cent] 40 1x 46# 00-7F SCALE TUNING F# -64 - +63 [cent] 40 0 [cent] 40 1x 47# 00-7F SCALE TUNING G -64 - +63 [cent] 40 0 [cent] 40 1x 48# 00-7F SCALE TUNING G# -64 - +63 [cent] 40 0 [cent] 40 1x 49# 00-7F SCALE TUNING A -64 - +63 [cent] 40 0 [cent] 40 1x 4A# 00-7F SCALE TUNING A# -64 - +63 [cent] 40 0 [cent] 40 1x 4B# 00-7F SCALE TUNING B -64 - +63 [cent] 40 0 [cent]
* SCALE TUNING is a function that allows  ne adjustment to the pitch of each note in the octave. The pitch of each identically-named note in all octaves will change
simultaneously. A setting of +/- 0 cent (40H) is equal temperament. Refer to section 4. Supplementary material, “The Scale Tune Feature.”
40 2x 00 00 00 01 28-58 MOD PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 01 00 00 01 00-7F MOD TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 02 00 00 01 00-7F MOD AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 03 00 00 01 00-7F MOD LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 04 00 00 01 00-7F MOD LFO1 PITCH DEPTH 0-600 [cent] 0A 47 [cent] 40 2x 05 00 00 01 00-7F MOD LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 06 00 00 01 00-7F MOD LFO1 TVA DEPTH 0-100 [%] 0 000 [%] 40 2x 07 00 00 01 00-7F MOD LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 08 00 00 01 00-7F MOD LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 09 00 00 01 00-7F MOD LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 0A 00 00 01 00-7F MOD LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]
40 2x 10 00 00 01 40-58 BEND PITCH CONTROL 0-24 [semitone] 42 2 [semitones] 40 2x 11 00 00 01 00-7F BEND TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 12 00 00 01 00-7F BEND AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 13 00 00 01 00-7F BEND LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 14 00 00 01 00-7F BEND LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 15 00 00 01 00-7F BEND LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 16 00 00 01 00-7F BEND LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 17 00 00 01 00-7F BEND LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 18 00 00 01 00-7F BEND LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 19 00 00 01 00-7F BEND LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 1A 00 00 01 00-7F BEND LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]
40 2x 20 00 00 01 28-58 CAf PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 21 00 00 01 00-7F CAf TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 22 00 00 01 00-7F CAf AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 23 00 00 01 00-7F CAf LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 24 00 00 01 00-7F CAf LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 25 00 00 01 00-7F CAf LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 26 00 00 01 00-7F CAf LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 27 00 00 01 00-7F CAf LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
13
MIDI Implementation
40 2x 28 00 00 01 00-7F CAf LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 29 00 00 01 00-7F CAf LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 2A 00 00 01 00-7F CAf LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]
40 2x 30 00 00 01 28-58 PAf PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 31 00 00 01 00-7F PAf TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 32 00 00 01 00-7F PAf AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 33 00 00 01 00-7F PAf LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 34 00 00 01 00-7F PAf LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 35 00 00 01 00-7F PAf LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 36 00 00 01 00-7F PAf LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 37 00 00 01 00-7F PAf LFO2 RATE CONTROL -10.0-+10.0 [Hz] 40 0 [Hz] 40 2x 38 00 00 01 00-7F PAf LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 39 00 00 01 00-7F PAf LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 3A 00 00 01 00-7F PAf LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]
40 2x 40 00 00 01 28-58 CC1 PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 41 00 00 01 00-7F CC1 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 42 00 00 01 00-7F CC1 AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 43 00 00 01 00-7F CC1 LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 44 00 00 01 00-7F CC1 LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 45 00 00 01 00-7F CC1 LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 46 00 00 01 00-7F CC1 LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 47 00 00 01 00-7F CC1 LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 48 00 00 01 00-7F CC1 LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 49 00 00 01 00-7F CC1 LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 4A 00 00 01 00-7F CC1 LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]
40 2x 50 00 00 01 28-58 CC2 PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 51 00 00 01 00-7F CC2 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 52 00 00 01 00-7F CC2 AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 53 00 00 01 00-7F CC2 LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 54 00 00 01 00-7F CC2 LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 55 00 00 01 00-7F CC2 LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 56 00 00 01 00-7F CC2 LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 57 00 00 01 00-7F CC2 LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 58 00 00 01 00-7F CC2 LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 59 00 00 01 00-7F CC2 LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 5A 00 00 01 00-7F CC2 LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]
40 4x 23 00 00 06 00-7F PART EFX TYPE (MSB, LSB) 00 00 - 7F 7F 00 00 0 40 4x 24#
* This EFX type is same to EFX type of System Parameter. When this EFX type is same to EFX type of System parameter, the part connect to EFX.
40 4x 25# 00-7F PART EFX MACRO 00-7F 00 00 0 40 4x 26# 00-7F PART EFX DEPTH 00-7F 00 00 0 40 4x 27# 00-7F PART EFX CONTROL1 00-7F 00 00 0 40 4x 28# 00-7F PART EFX CONTROL2 00-7F 00 00 0
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MIDI Implementation
4. Supplementary Material
●Decimal and Hexadecimal Table
In MIDI documentation, data values and addresses/sizes of exclusive messages etc. are expressed as hexadecimal values for each 7 bits. The following table shows how these correspond to decimal numbers.
+------+------++------+------++------+------++------+------+ | D | H || D | H || D | H || D | H | +------+------++------+------++------+------++------+------+ | 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H | | 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H | | 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H | | 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H | | 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H | | 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H | | 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H | | 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H | | 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H | | 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H | | 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH | | 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH | | 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH | | 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH | | 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH | | 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH | | 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H | | 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H | | 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H | | 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H | | 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H | | 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H | | 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H | | 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H | | 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H | | 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H | | 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH | | 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH | | 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH | | 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH | | 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH | | 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH | +------+------++------+------++------+------++------+------+
D: decimal H: hexadecimal
* Decimal values such as MIDI channel, bank select, and program change are listed as
one (1) greater than the values given in the above table.
* A 7-bit byte can express data in the range of 128 steps. For data where greater
precision is required, we must use two or more bytes. For example, two hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a value of aa x 128 + bb.
* In the case of values which have a ± sign, 00H = -64, 40H = ±0, and 7FH = +63, so
that the decimal expression would be 64 less than the value given in the above chart. In the case of two types, 00 00H = -8192, 40 00H = ±0, and 7F 7FH = +8191. For example if aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128 + bb - 64 x 128.
* Data marked “nibbled” is expressed in hexadecimal in 4-bit units. A value expressed
as a 2-byte nibble 0a 0bH has the value of a x 16 + b.
<Example1> What is the decimal expression of 5AH? From the preceding table, 5AH = 90
<Example2> What is the decimal expression of the value 12 34H given as hexadecimal for each 7 bits? From the preceding table, since 12H = 18 and 34H = 52 18 x 128 + 52 = 2356
<Example3> What is the decimal expression of the nibbled value 0A 03 09 0D? From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13 ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
<Example4> What is the nibbled expression of the decimal value 1258?
16) 1258
16) 78... 10
16) 4... 14
0... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the answer is 00 04 0E 0AH.
●Examples of Actual MIDI Messages
<Example1> 92 3E 5F 9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and 5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4), and velocity 95.
<Example2> CE 49 CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and 49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute in GS).
<Example3> EA 00 28 EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H = 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed number in which 40 00H (= 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value is 28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to change 200 cents, so in this case -200 x (-3072) / (-8192) = -75 cents of Pitch Bend is being applied to MIDI channel 11.
<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F BnH is the Control Change status, and n is the MIDI channel number. For Control Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or more messages consecutive messages have the same status, MIDI has a provision called “running status” which allows the status byte of the second and following messages to be omitted. Thus, the above messages have the following meaning.
B3 64 00 MIDI ch.4, lower byte of RPN parameter number: 00H
(B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: 00H
(B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH
(B3) 26 00 (MIDI ch.4) lower byte of parameter value: 00H
(B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH
(B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH
In other words, the above messages specify a value of 0C 00H for RPN parameter number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to ±12 semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity is ignored, but the LSB should be transmitted anyway (with a value of 0) so that operation will be correct on any device.)
Once the parameter number has been speci ed for RPN or NRPN, all Data Entry messages transmitted on that same channel will be valid, so after the desired value has been transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents. This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
It is not desirable for performance data (such as Standard MIDI File data) to contain many events with running status as given in <Example 4>. This is because if playback is halted during the song and then rewound or fast-forwarded, the sequencer may not be able to transmit the correct status, and the sound source will then misinterpret the data. Take care to give each event its own status.
It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order. On some sequencers, events occurring in the same (or consecutive) clock may be transmitted in an order di erent than the order in which they were received. For this reason it is a good idea to slightly skew the time of each event (about 1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
* TPQN: Ticks Per Quarter Note
15
MIDI Implementation
●Example of an Exclusive Message and Calculating a
Checksum
Roland Exclusive messages are transmitted with a checksum at the end (before F7) to make sure that the message was correctly received. The value of the checksum is determined by the address and data (or size) of the transmitted exclusive message.
❍ How to Calculate the Checksum (Hexadecimal
Numbers are Indicated by ‘H’)
The checksum is a value derived by adding the address, size and checksum itself and inverting the lower 7 bits. Here’s an example of how the checksum is calculated. We will assume that in the exclusive message we are transmitting, the address is aa bb ccH and the data or size is dd ee  H.
aa + bb + cc + dd + ee +  = sum sum / 128 = quotient ... remainder 128 - remainder = checksum (However, the checksum will be 0 if the remainder is 0.)
<Example> Setting REVERB MACRO to ROOM 3 According to the “Parameter Address Map,” the REVERB MACRO Address is 40 01 30H, and ROOM 3 is a value of 02H. Thus,
F0 41 10 42 12 40 01 30 02 ?? F7 (1) (2) (3) (4) (5) Address data Checksum (6)
(1) Exclusive Status, (2) ID (Roland), (3) Device ID (17), (4) Model ID (GS), (5) Command ID (DT1), (6) End of Exclusive
Next we calculate the checksum.
40H + 01H + 30H + 02H = 64 + 1 + 48 + 2 = 115 (sum) 115 (sum) / 128 = 0 (quotient) ... 115 (remainder) checksum = 128 - 115 (remainder) = 13 = 0DH
This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit.
●About Tuning
In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the appropriate MIDI channel. In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels being used, or by sending a System Exclusive MASTER TUNE (address 40 00 00H). RPN #1 allows tuning to be speci ed in steps of approximately 0.012 cents (to be precise, 100/8192 cent), and System Exclusive MASTER TUNE allows tuning in steps of
0.1 cent. One cent is 1/100th of a semitone. The values of RPN #1 (Master Fine Tuning) and System Exclusive MASTER TUNE are added together to determine the actual pitch sounded by each Part.
+----------+--------+---------------+--------------------+ | Hz in A4 | cent | RPN #1 | Sys.Ex. 40 00 00 | +----------+--------+---------------+--------------------+ | 445.0 | +19.56 | 4C 43 (+1603) | 00 04 0C 04 (+196) | | 444.0 | +15.67 | 4A 03 (+1283) | 00 04 09 0D (+157) | | 443.0 | +11.76 | 47 44 (+ 964) | 00 04 07 06 (+118) | | 442.0 | +7.85 | 45 03 (+ 643) | 00 04 04 0F (+ 79) | | 441.0 | +3.93 | 42 42 (+ 322) | 00 04 02 07 (+ 39) | | 440.0 | 0.00 | 40 00 ( 0) | 00 04 00 00 ( 0) | | 439.0 | -3.94 | 3D 3D (- 323) | 00 03 0D 09 (- 39) | | 438.0 | -7.89 | 3A 7A (- 646) | 00 03 0B 01 (- 79) | +----------+--------+---------------+--------------------+
Frequently used tuning values are given in the following table for your reference. Values are in hexadecimal (decimal in parentheses).
●The Scale Tune Feature (Address: 40 1x 40)
The scale Tune feature allows you to  nely adjust the individual pitch of the notes from C through B. Though the settings are made while working with one octave, the  ne adjustments will a ect all octaves. By making the appropriate Scale Tune settings, you can obtain a complete variety of tuning methods other than equal temperament. As examples, three possible types of scale setting are explained below.
❍ Equal Temperament
This method of tuning divides the octave into 12 equal parts. It is currently the most widely used form of tuning, especially in occidental music. On this instrument, the default settings for the Scale Tune feature produce equal temperament.
❍ Just Temperament (Keytone C)
The three main chords resound much more beautifully than with equal tempera­ment, but this bene t can only be obtained in one key. If transposed, the chords tend to become ambiguous. The example given involves settings for a key in which C is the keynote.
❍ Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for ethnic music. For example, the settings introduced below will set the unit to use the Arabian Scale.
Example Settings
Note name Equal Temperament Just Temperament Arabian Scale (Keytone C) C 0 0 -6 C# 0 -8 +45 D 0 +4 -2 D# 0 +16 -12 E 0 -14 -51 F 0 -2 -8 F# 0 -10 +43 G 0 +2 -4 G# 0 +14 +47 A 0 -16 0 A# 0 +14 -10 B 0 -12 -49
The values in the table are given in cents. Refer to the explanation of Scale Tuning to convert these values to hexadecimal, and transmit them as exclusive data. For example, to set the tune (C-B) of the Part1 Arabian Scale, send the data as follows: F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 50 F7
<Example> Set the tuning of MIDI channel 3 to A4 = 442.0 Hz Send RPN#1 to MIDI channel 3. From the above table, the value is 45 03H.
B2 64 00 MIDI ch.3, lower byte of RPN parameter number: 00H
(B2) 65 01 (MIDI ch.3) upper byte of RPN parameter number: 01H
(B2) 06 45 (MIDI ch.3) upper byte of parameter value: 45H
(B2) 26 03 (MIDI ch.3) lower byte of parameter value: 03H
(B2) 64 7F (MIDI ch.3) lower byte of RPN parameter number: 7FH
(B2) 65 7F (MIDI ch.3) upper byte of RPN parameter number: 7FH
16
MIDI Implementation
5. E ect List
0100: Equalizer 0101: Spectrum 0102: Enhancer 0104: Isolator 0105: Low Boost 0106: High Pass Filter 0110: Overdrive 0111: Distortion 0112: Overdrive2 0113: Distortion2 0107: Speaker Simulator 0114: Guitar Amp Simulator 0120: Phaser 0129: Multi Stage Phaser 012a: In nite Phaser 0123: Stereo Flanger 0127: 3D Flanger 0128: 2Band Flanger 0121: Auto Wah 0103: Humanizer 012b: Ring Modulator 0125: Tremolo 0126: Auto Pan 012c: Slicer 0130: Compressor 0131: Limiter 0142: Stereo Chorus 0140: Hexa Chorus 0141: Tremolo Chorus 0143: Space D 0144: 3D Chorus 0145: 2Band Chorus 0122: Rotary 012d: Rotary2 0300: Rotary Multi 015b: Stereo Delay1 015c: Stereo Delay2 015d: Stereo Delay3 015e: Stereo Delay4 015f: Stereo Delay5 0150: Monaural Delay 0151: Modulation Delay 0152: Triple Tap Delay 0157: 3D Delay 0159: Tape Echo 015a: Reverse Delay 0172: Lo-Fi 0175: Telephone 0156: Gate Reverb 0200: Overdrive->Chorus 0201: Overdrive->Flanger 0202: Overdrive->Delay 0203: Distortion->Chorus 0204: Distortion->Flanger 0205: Distortion->Delay 0206: Enhancer->Chorus 0207: Enhancer->Flanger 0208: Enhancer->Delay 0209: Chorus->Delay 020a: Flanger-> Delay 020b: Chorus-> Flanger
■ EFX Parameter Map
The parameters with”#1” or “#2” at the end of parameter name can be controlled with each exclusive message”Part EFX CONTROL 1” and “Part EFX CONTROL 2.”
●0100: Equalizer
This is a four-band stereo equalizer (low, mid x 2, high).
No Parameter Value Description
1 Low Freq 0–1 200, 400 Hz Frequency of the low range
2 Low Gain #1 0–30 -15–+15 dB Gain of the low range
3 Mid1 Freq 0–16 200–8000 Hz
4 Mid1 Gain 0–30 -15–+15 dB Gain of the middle range 1
5 Mid1 Q 0–4
6 Mid2 Freq 0–16 200–8000 Hz
7 Mid2 Gain 0–30 -15–+15 dB Gain of the middle range 2
8 Mid2 Q 0–4
9 High Freq 0–2
10 High Gain #2 0–30 -15–-+15 dB Gain of the high range
11 Level 0–127 0–127 Output Level
0.5, 1.0, 2.0,
4.0, 8.0
0.5, 1.0, 2.0,
4.0, 8.0
2000, 4000, 8000 Hz
●0101: Spectrum
This is a stereo spectrum. Spectrum is a type of  lter which modi es the timbre by boosting or cutting the level at speci c frequencies.
No Parameter Value Description
Band1
1
(250Hz)
Band2
2
(500Hz) #1
Band3
3
(1000Hz)
Band4
4
(1250Hz) #2
Band5
5
(2000Hz)
Band6
6
(3150Hz)
Band7
7
(4000Hz)
Band8
8
(8000Hz)
9 Q 0–4
10 Level 0–127 0-127 Output Level
0–30
0–30
0–30
0–30
-15–+15 dB Gain of each frequency band
0–30
0–30
0–30
0–30
0.5, 1.0, 2.0,
4.0, 8.0
Frequency of the middle range 1
Width of the middle range 1 Set a higher value for Q to narrow the range to be a ected.
Frequency of the middle range 2
Width of the middle range 2 Set a higher value for Q to narrow the range to be a ected.
Frequency of the high range
Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.
17
MIDI Implementation
●0102: Enhancer
Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.
No Parameter Value Description
1 Sens #1 0–127 0–127 Sensitivity of the enhancer
2 Mix #2 0–127 0–127
3 Low Gain 0–30 -15–+15 dB Gain of the low range
4 High Gain 0–30 -15–+15 dB Gain of the high range
5 Level 0–127 0–127 Output Level
Level of the overtones generated by the enhancer
●0104: Isolator
This is an equalizer which cuts the volume greatly, allowing you to add a special e ect to the sound by cutting the volume in varying ranges.
No Parameter Value Description
Boost/Cut
1
Low
Boost/Cut
2
Mid #1
Boost/Cut
3
High #2
Anti Phase
4
Low Sw
Anti Phase
5
Low Level
Anti Phase
6
Mid Sw
Anti Phase
7
Mid Level
Low Boost
8
Sw
Low Boost
9
Level
10 Level 0–127 0–127 Output Level
0–64 -60–+4 dB
0–1 O , On
0–127 0–127
0–1 O , On
0–127 0–127
0–1 O , On
0–127 0–127
These boost and cut each of the High, Middle, and Low frequency ranges. At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.
Turns the Anti-Phase function on and o for the Low frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal.
Adjusts the level settings for the Low frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to speci c parts. (This is e ective only for stereo source.)
Settings of the Anti-Phase function for the Middle frequency ranges The parameters are the same as for the Low frequency ranges.
Turns Low Booster on/o . This emphasizes the bottom to create a heavy bass sound.
Increasing this value gives you a heavier low end. Depending on the Isolator and  lter settings this e ect may be hard to distinguish.
●0105: Low Boost
Boosts the volume of the lower range, creating powerful lows.
No Parameter Value Description
Boost
1
Frequency #1
Boost Gain
2
#2
3 Boost Width 0–2
4 Low Gain 0–30 -15–+15 dB
5 High Gain 0–30 -15–+15 dB
6 Level 0–127 0–127 Output level
0–8 50–125 Hz
0–12 0–+12 dB
Wide, Mid, Narrow
Center frequency at which the lower range will be boosted
Amount by which the lower range will be boosted
Width of the lower range that will be boosted
Gain of the low frequency range
Gain of the high frequency range
●0106: High Pass Filter
This is a  lter with an extremely sharp slope. The cuto frequency can be varied cyclically.
No Parameter Value Description
Filter type Frequency range that will pass through each  lter Lpf: Frequencies below the
1 Filter Type 0–3
2 Filter Slope 0–2
Filter Cuto
3
#1
Filter
4
Resonance #20–100 0–100
5 Filter Gain 0–12 0–+12 dB
Modulation
6
Sw
Modulation
7
Wave
8 Rate Mode 0–1 Hz, note
9 Rate 1–127
10 Rate 0–21 note Rate of modulation (note)
11 Depth 0–127 0–127 Depth of modulation
12 Attack 0–127 0–127
13 Level 0–127 0–127 Output level
0–127 0–127
0–1 O , On
0–4
Lpf, Bpf, Hpf, Notch
-12, -24, -36 dB
Tri, Sqr, Sin, Saw1, Saw2
0.05–10.00 Hz
cuto Bpf: Frequencies in the region of the cuto Hpf: Frequencies above the cuto Notch: Frequencies other than the region of the cuto
Amount of attenuation per octave
-36 dB: Extremely steep
-24 dB: Steep
-12 dB: Gentle
Cuto frequency of the  lter Increasing this value will raise the cuto frequency.
Filter resonance level Increasing this value will emphasize the region near the cuto frequency.
Amount of boost for the  lter output
On/o switch for cyclic change
How the cuto frequency will be modulated Tri: Triangle wave Sqr: Square wave Sin: Sine wave Saw1: Sawtooth wave (upward) Saw2: Sawtooth wave (downward)
When this is set to “note,” the e ect is synchronized with the tempo.
Rate of modulation (Hz)
Speed at which the cuto frequency will change This is e ective if Modulation Wave is SQR, SAW1, or SAW2.
18
MIDI Implementation
●0110: Overdrive
Creates a soft distortion similar to that produced by vacuum tube ampli ers.
No Parameter Value Description
1 Drive 0–127 0–127
Small,
2 Amp Type #1 0–3
3 Low Gain 0–30 -15–+15 dB Gain of the low range
4 High Gain 0–30 -15–+15 dB Gain of the high range
5 Pan 0–127 L64–63R
6 Level #2 0–127 0–127 Output Level
Built-In, 2-Stack, 3-Stack
Degree of distortion Also changes the volume.
Type of guitar amp Small: small amp Built-In: single-unit type amp 2-Stack: large double stack amp 3-Stack: large triple stack amp
Stereo location of the output sound
●0111: Distortion
Produces a more intense distortion than Overdrive. The parameters are the same as for “Overdrive.”
●0112: Overdrive2
This is an overdrive that provides heavy distortion.
No Parameter Value Description
1 Drive 0–127 0–127
2 Tone 0–127 0–127
3 Amp Sw 0–1 O , On
4 Amp Type #1 0–3
5 Low Gain 0–30 -15–+15 dB Gain of the low range
6 High Gain 0–30 -15–+15 dB Gain of the high range
7 Pan 0–127 L64–63R
8 Level #2 0–127 0–127 Output Level
Small, Built­In, 2-Stack, 3-Stack
Degree of distortion Also changes the volume.
Sound quality of the Overdrive e ect
Turns the Amp Simulator on/o .
Type of guitar amp Small: small amp Built-In: single-unit type amp 2-Stack: large double stack amp 3-Stack: large triple stack amp
Stereo location of the output sound
❍ Speci cations of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Type Cabinet Speaker Microphone
Small 1 Small open-back enclosure 10 Dynamic
Small 2 Small open-back enclosure 10 Dynamic
Middle Open back enclosure 12 x 1 Dynamic
JC-120 Open back enclosure 12 x 2 Dynamic
Built-In 1 Open back enclosure 12 x 2 Dynamic
Built-In 2 Open back enclosure 12 x 2 Condenser
Built-In 3 Open back enclosure 12 x 2 Condenser
Built-In 4 Open back enclosure 12 x 2 Condenser
Built-In 5 Open back enclosure 12 x 2 Condenser
BG Stack 1 Sealed enclosure 12 x 2 Condenser
BG Stack 2 Large sealed enclosure 12 x 2 Condenser
MS Stack 1 Large sealed enclosure 12 x 4 Condenser
MS Stack 2 Large sealed enclosure 12 x 4 Condenser
Metal Stack Large double stack 12 x 4 Condenser
2-Stack Large double stack 12 x 4 Condenser
3-Stack Large triple stack 12 x 4 Condenser
●0113: Distortion2
This is a distortion e ect that provides heavy distortion. The parameters are the same as for “Overdrive2.”
●0107: Speaker Simulator
Simulates the speaker type and mic settings used to record the speaker sound.
No Parameter Value Description
Speaker Type
1
#1
2 Mic Setting 0–2 1, 2, 3
3 Mic Level 0–127 0–127 Volume of the microphone
4 Direct Level 0–127 0–127 Volume of the direct sound
5 Level #2 0–127 0–127 Output Level
0–15
(See the table.)
Type of speaker
Adjusts the location of the mic that is recording the sound of the speaker. This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.
19
MIDI Implementation
●0114: Guitar Amp Simulator
This is an e ect that simulates the sound of a guitar ampli er.
No Parameter Value Description
1 Pre Amp Sw 0–1 O , On Turns the amp switch on/o .
JC-120, Clean Twin, MATCH Drive, BG Lead, MS1959I, MS1959II,
Pre Amp
2
Type #1
Pre Amp
3
Volume
Pre Amp
4
Master
Pre Amp
5
Gain
6 Pre Amp Bass 0–127
Pre Amp
7
Middle
Pre Amp
8
Treble
Pre Amp
9
Presence
Pre Amp
10
Bright
11 Speaker Sw 0–1 O , On
Speaker Type
12
#2
13 Mic Setting 0–2 1, 2, 3
14 Mic Level 0–127 0–127 Volume of the microphone
15 Direct Level 0–127 0–127 Volume of the direct sound
16 Pan 0–127 L64–63R Stereo location of the output
17 Level 0–127 0–127 Output level
0–13
0–127 0–127
0–127 0–127 Volume of the entire pre-amp
0–2
0–127
0–127
0–127
0–1 O , On
0–15
MS1959I+II, SLDN Lead, Metal 5150, Metal Lead, OD-1, OD-2 Turbo, Distortion, Fuzz
Low, Middle, High
0–127
0–127 (MATCH Drive:
-127–0)
(See the table.)
Type of guitar amp
Volume and amount of distortion of the amp
Amount of pre-amp distortion
Tone of the bass/mid/treble frequency range Middle cannot be set if “MATCH Drive” is selected as the Pre Amp Type.
Tone for the ultra-high frequency range
Turning this “On” produces a sharper and brighter sound. This parameter applies to the “JC-120,” “Clean Twin,” and “BG Lead” Pre Amp Types.
Determines whether the signal passes through the speaker (ON), or not (OFF).
Type of speaker
Adjusts the location of the mic that’s capturing the sound of the speaker. This can be adjusted in three steps, from 1 to 3, with the mic becoming more distant as the value increases.
Type Cabinet Speaker Microphone
BG Stack 2 Large sealed enclosure 12 x 2 Condenser
MS Stack 1 Large sealed enclosure 12 x 4 Condenser
MS Stack 2 Large sealed enclosure 12 x 4 Condenser
Metal Stack Large double stack 12 x 4 Condenser
2-Stack Large double stack 12 x 4 Condenser
3-Stack Large triple stack 12 x 4 Condenser
●0120: Phaser
This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.
No Parameter Value Description
1 Mode 0–2
2 Manual #2 0–127 0–127
3 Rate Mode 0–1 Hz, note
4 Rate #1 1–127
5 Rate 0–21 note
6 Depth 0–127 0–127 Depth of modulation
7 Polarity 0–1
8 Resonance 0–127 0-127 Amount of feedback
Cross
9
Feedback
10 Mix 0–127 0–127
11 Low Gain 0–30 -15–+15 dB Gain of the low range
12 High Gain 0–30 -15–+15 dB Gain of the high range
13 Level 0–127 0–127 Output Level
0–98 -98–+98%
4-Stage, 8-Stage, 12-Stage
0.05–10.00 Hz
Inverse, Synchro
Number of stages in the phaser
Adjusts the basic frequency from which the sound will be modulated.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Selects whether the left and right phase of the modulation will be the same or the opposite. Inverse: The left and right phase will be opposite. When using a mono source, this spreads the sound. Synchro: The left and right phase will be the same. Select this when inputting a stereo source.
Adjusts the proportion of the phaser sound that is fed back into the e ect. Negative (-) settings will invert the phase.
Level of the phase-shifted sound
❍ Speci cations of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Type Cabinet Speaker Microphone
Small 1 Small open-back enclosure 10 Dynamic
Small 2 Small open-back enclosure 10 Dynamic
Middle Open back enclosure 12 x 1 Dynamic
JC-120 Open back enclosure 12 x 2 Dynamic
Built-In 1 Open back enclosure 12 x 2 Dynamic
Built-In 2 Open back enclosure 12 x 2 Condenser
Built-In 3 Open back enclosure 12 x 2 Condenser
Built-In 4 Open back enclosure 12 x 2 Condenser
Built-In 5 Open back enclosure 12 x 2 Condenser
BG Stack 1 Sealed enclosure 12 x 2 Condenser
20
MIDI Implementation
●0129: Multi Stage Phaser
Extremely high settings of the phase di erence produce a deep phaser e ect.
No Parameter Value Description
4-Stage, 8-Stage,
1 Mode 0–5
2 Manual #2 0–127 0–127
3 Rate Mode 0–1 Hz, note
4 Rate #1 1–127
5 Rate 0–21 note
6 Depth 0–127 0–127 Depth of modulation
7 Resonance 0–127 0–127 Amount of feedback
8 Mix 0–127 0–127
9 Pan 0–127 L64–63R
10 Low Gain 0–30 -15–+15 dB Gain of the low range
11 High Gain 0–30 -15–+15 dB Gain of the high range
12 Level 0–127 0–127 Output Level
12-Stage, 16-Stage, 20-Stage, 24-Stage
0.05–10.00 Hz
Number of phaser stages
Adjusts the basic frequency from which the sound will be modulated.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Level of the phase-shifted sound
Stereo location of the output sound
●012a: In nite Phaser
A phaser that continues raising/lowering the frequency at which the sound is modulated.
No Parameter Value Description
1 Mode 0–3 1, 2, 3, 4
2 Speed #1 0–127 -100–+100
Resonance
3
#2
4 Mix 0–127 0–127
5 Pan 0–127 L64–63R Panning of the output sound
6 Low Gain 0–30 -15–+15 dB
7 High Gain 0–30 -15–+15 dB
8 Level 0–127 0–127 Output volume
0–127 0–127 Amount of feedback
Higher values will produce a deeper phaser e ect.
Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward)
Volume of the phase-shifted sound
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
●0123: Stereo Flanger
This is a stereo  anger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking o or landing. A  lter is provided so that you can adjust the timbre of the  anged sound.
No Parameter Value Description
Type of  lter O : No  lter is used
1 Filter Type 0–2 O , Lpf, Hpf
2 Cuto Freq 0–16 200–8000 Hz Basic frequency of the  lter
3 Pre Delay 0–125 0.0–100.0 ms
Lpf: Cuts the frequency range above the Cuto Freq Hpf: Cuts the frequency range below the Cuto Freq
Adjusts the delay time from when the direct sound begins until the  anger sound is heard.
No Parameter Value Description
4 Rate Mode 0–1 Hz, note
5 Rate #1 1–127
6 Rate 0–21 note
7 Depth #2 0–127 0–127 Depth of modulation
8 Phase 0–90 0–180 deg Spatial spread of the sound
9 Feedback 0–98 -98–+98%
10 Low Gain 0–30 -15–+15 dB Gain of the low range
11 High Gain 0–30 -15–+15 dB Gain of the high range
12 Balance 0–100
13 Level 0–127 0–127 Output Level
0.05–10.00 Hz
D100:0W– D0:100W
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Adjusts the proportion of the  anger sound that is fed back into the e ect. Negative (-) settings will invert the phase.
Volume balance between the direct sound (D) and the  anger sound ( W)
●0127: 3D Flanger
This applies a 3D e ect to the  anger sound. The  anger sound will be positioned 90 degrees left and 90 degrees right.
No Parameter Value Description
Type of  lter O : No  lter is used
1 Filter Type 0–2 O , Lpf, Hpf
2 Cuto Freq 0–16 200–8000 Hz Basic frequency of the  lter
3 Pre Delay 0–125 0.0–100.0 ms
4 Rate Mode 0–1 Hz, note
5 Rate #1 1–127
6 Rate 0–21 note
7 Depth #2 0–127 0–127 Depth of modulation
8 Phase 0–90 0–180 deg Spatial spread of the sound
9 Feedback 0–98 -98–+98%
10 Output Mode 0–1
11 Low Gain 0–30 -15–+15 dB Gain of the low range
12 High Gain 0–30 -15–+15 dB Gain of the high range
13 Balance 0–100
14 Level 0–127 0–127 Output Level
0.05–10.00 Hz
Speaker, Phones
D100:0W– D0:100W
Lpf: Cuts the frequency range above the Cuto Freq Hpf: Cuts the frequency range below the Cuto Freq
Adjusts the delay time from when the direct sound begins until the  anger sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Adjusts the proportion of the  anger sound that is fed back into the e ect. Negative (-) settings will invert the phase.
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D e ect will be achieved if you select Speaker when using speakers, or Phones when using headphones.
Volume balance between the direct sound (D) and the  anger sound ( W)
21
MIDI Implementation
●0128: 2Band Flanger
A  anger that lets you apply an e ect independently to the low-frequency and high-frequency ranges.
No Parameter Value Description
1 Split Freq 0–16 200–8000 Hz
Low Pre
2
Delay
Low Rate
3
Mode
4 Low Rate #1 1–127
5 Low Rate 0–21 note
6 Low Depth 0–127 0–127
7 Low Phase 0–90 0–180 deg
Low
8
Feedback
High Pre
9
Delay
High Rate
10
Mode
11 High Rate #2 1–127
12 High Rate 0–21 note
13 High Depth 0–127 0–127
14 High Phase 0–90 0–180 deg
High
15
Feedback
16 Balance 0–100
17 Level 0–127 0–127 Output volume
0–125 0.0–100.0 ms
0–1 Hz, note
0.05–10.00 Hz
0–98 -98–+98%
0–125 0.0–100.0 ms
0–1 Hz, note
0.05–10.00 Hz
0–98 -98–+98%
D100:0W– D0:100W
Frequency at which the low and high ranges will be divided
Delay time from when the original sound is heard to when the low-range  anger sound is heard
When this is set to “note,” the e ect is synchronized with the tempo.
Rate at which the low-range  anger sound is modulated (Hz)
Rate at which the low-range  anger sound is modulated (note)
Modulation depth for the low-range  anger sound
Spaciousness of the low-range  anger sound
Proportion of the low-range  anger sound that is to be returned to the input (negative values invert the phase)
Delay time from when the original sound is heard to when the high-range  anger sound is heard
When this is set to “note,” the e ect is synchronized with the tempo.
Rate at which the high-range  anger sound is modulated (Hz)
Rate at which the high-range  anger sound is modulated (note)
Modulation depth for the high-range  anger sound
Spaciousness of the high­range  anger sound
Proportion of the high-range  anger sound that is to be returned to the input (negative values invert the phase)
Volume balance of the original sound (D) and  anger sound (W)
●0121: Auto Wah
Cyclically controls a  lter to create cyclic change in timbre.
No Parameter Value Description
Type of  lter Lpf: The wah e ect will be
1 Filter Type 0–1 Lpf, Bpf
2 Manual #2 0–127 0–127
applied over a wide frequency range. Bpf: The wah e ect will be applied over a narrow frequency range.
Adjusts the center frequency at which the e ect is applied.
No Parameter Value Description
Adjusts the amount of the wah e ect that will occur in the range of the center
3 Peak 0–127 0–127
4 Sens 0–127 0–127
5 Polarity 0–1 Up, Down
6 Rate Mode 0–1 Hz, note
7 Rate #1 1–127
8 Rate 0–21 note
9 Depth 0–127 0–127 Depth of modulation
10 Phase 0–90 0–180 deg
11 Low Gain 0–30 -15–+15 dB Gain of the low range
12 High Gain 0–30 -15–+15 dB Gain of the high range
13 Level 0–127 0–127 Output Level
0.05–10.00 Hz
frequency. Set a higher value for Q to narrow the range to be a ected.
Adjusts the sensitivity with which the  lter is controlled.
Sets the direction in which the frequency will change when the auto-wah  lter is modulated. Up: The  lter will change toward a higher frequency. Down: The  lter will change toward a lower frequency.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Adjusts the degree of phase shift of the left and right sounds when the wah e ect is applied.
●0103: Humanizer
Adds a vowel character to the sound, making it similar to a human voice.
No Parameter Value Description
1 Drive Sw 0–1 O , On Turns Drive on/o .
2 Drive #2 0–127 0–127
3 Vowel1 0–4 a, e, i, o, u
4 Vowel2 0–4 a, e, i, o, u
5 Rate Mode 0–1 Hz, note
6 Rate 1–127
7 Rate #1 0–21 note
8 Depth 0–127 0–127 E ect depth
Input Sync
9
Sw
Input Sync
10
Threshold
11 Manual 0–100 0–100
12 Low Gain 0–30 -15–+15 dB
13 High Gain 0–30 -15–+15 dB
14 Pan 0–127 L64–63R Stereo location of the output
15 Level 0–127 0–127 Output level
0–1 O , On
0–127 0–127
0.05–10.00 HzFrequency at which the two
Degree of distortion Also changes the volume.
Selects the vowel.
When this is set to “note,” the e ect is synchronized with the tempo.
vowels switch (Hz)
Frequency at which the two vowels switch (note)
Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).
Volume level at which reset is applied
Point at which Vowel 1/2 switch 49 or less: Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of equal duration. 51 or more: Vowel 2 will have a longer duration.
Gain of the low frequency range
Gain of the high frequency range
22
MIDI Implementation
●012b: Ring Modulator
This is an e ect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the e ect.
No Parameter Value Description
1 Frequency #1 0–127 0–127
2 Sens 0–127 0–127
3 Polarity 0–1 Up, Down
4 Low Gain 0–30 -15–+15 dB
5 High Gain 0–30 -15–+15 dB
6 Balance #2 0–100
7 Level 0–127 0–127 Output level
D100:0W– D0:100W
Adjusts the frequency at which modulation is applied.
Adjusts the amount of frequency modulation applied.
Determines whether the frequency modulation moves towards higher frequencies (Up) or lower frequencies (Down).
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the e ect sound (W)
●0125: Tremolo
Cyclically modulates the volume to add tremolo e ect to the sound.
No Parameter Value Description
Modulation Wave
1 Mod Wave 0–4
2 Rate Mode 0–1 Hz, note
3 Rate #1 1–127 0.05-10.00 Hz Frequency of the change (Hz)
4 Rate 0–21 note
5 Depth #2 0–127 0–127
6 Low Gain 0–30 -15–+15 dB Gain of the low range
7 High Gain 0–30 -15–+15 dB Gain of the high range
8 Level 0–127 0–127 Output Level
Tri, Sqr, Sin, Saw1, Saw2
Tri: Triangle wave Sqr: Square wave Sin: Sine wave Saw1/2: Sawtooth wave
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of the change (note)
Depth to which the e ect is applied
●012c: Slicer
By applying successive cuts to the sound, this e ect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially e ective when applied to sustain-type sounds.
No Parameter Value Description
1 Rate Mode 0–1 Hz, note
2 Rate 1–127 0.05-10.00 Hz
3 Rate #1 12–21 note
4 Attack 0–127 0–127
Input Sync
5
Sw
Input Sync
6
Threshold
7 Mode 0–1 Legato, Slash
8 Shu e #2 0–127 0–127
9 Level 0–127 0–127 Output level
0–1 O , On
0–127 0–27
When this is set to “note,” the e ect is synchronized with the tempo.
Rate at which the 16-step sequence will cycle (Hz)
Rate at which the 16-step sequence will cycle (note)
Speed at which the level changes between steps
Speci es whether an input note will cause the sequence to resume from the  rst step of the sequence (ON) or not (OFF)
Volume at which an input note will be detected
Sets the manner in which the volume changes as one step progresses to the next. Legato: The change in volume from one step’s level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume. Slash: The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preced­ing step.
Timing of volume changes for even-numbered steps (step 2, step 4, step 6...). The higher the value, the later the beat progresses.
●0130: Compressor
Flattens out high levels and boosts low levels, smoothing out  uctuations in volume.
●0126: Auto Pan
Cyclically modulates the stereo location of the sound.
No Parameter Value Description
Modulation Wave
1 Mod Wave 0–4
2 Rate Mode 0–1 Hz, note
3 Rate #1 1–127 0.05–10.00 Hz
4 Rate 0–21 note
5 Depth #2 0–127 0–127
6 Low Gain 0–30 -15–+15 dB Gain of the low range
7 High Gain 0–30 -15–+15 dB Gain of the high range
8 Level 0–127 0–127 Output Level
Tri, Sqr, Sin, Saw1, Saw2
Tri: triangle wave Sqr: square wave Sin: sine wave Saw1/2: sawtooth wave
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of the change (Hz)
Frequency of the change (note)
Depth to which the e ect is applied
No Parameter Value Description
1 Attack #2 0–127 0–127
2 Threshold #1 0–127 0–127
3 Post Gain 0–18 0–+18 dB Adjusts the output gain.
4 Low Gain 0–30 -15–+15 dB
5 High Gain 0–30 -15–+15 dB
6 Level 0–127 0–127 Output level
Sets the speed at which compression starts
Adjusts the volume at which compression begins
Gain of the low frequency range
Gain of the high frequency range
23
MIDI Implementation
●0131: Limiter
Compresses signals that exceed a speci ed volume level, preventing distortion from occurring.
No Parameter Value Description
Adjusts the time after the
1 Release 0–127 0–127
2 Threshold #1 0–127 0–127
3 Ratio #2 0–3
4 Post Gain 0–18 0–+18 dB Adjusts the output gain.
5 Low Gain 0–30 -15–+15 dB
6 High Gain 0–30 -15–+15 dB
7 Level 0–127 0–127 Output level
1.5:1, 2:1, 4:1, 100:1
signal volume falls below the Threshold Level until compres­sion is no longer applied.
Adjusts the volume at which compression begins
Compression ratio
Gain of the low frequency range
Gain of the high frequency range
●0142: Stereo Chorus
This is a stereo chorus. A  lter is provided so that you can adjust the timbre of the chorus sound.
No Parameter Value Description
Type of  lter O : No  lter is used
1 Filter Type 0–2 O  , Lpf, Hpf
2 Cuto Freq 0–16 200–8000 Hz Basic frequency of the  lter
3 Pre Delay 0–125 0.0–100.0 ms
4 Rate Mode 0–1 Hz, note
5 Rate #1 1–127
6 Rate 0–21 note
7 Depth #2 0–127 0–127 Depth of modulation
8 Phase 0–90 0–180 deg Spatial spread of the sound
9 Low Gain 0–30 -15–+15 dB Gain of the low range
10 High Gain 0–30 -15–+15 dB Gain of the high range
11 Balance 0–100
12 Level 0–127 0–127 Output Level
0.05–10.00 Hz
D100:0W– D0:100W
Lpf: Cuts the frequency range above the Cuto Freq Hpf: Cuts the frequency range below the Cuto Freq
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Volume balance between the direct sound (D) and the chorus sound (W)
No Parameter Value Description
Pre Delay
6
Deviation
Depth
7
Deviation
Pan
8
Deviation
9 Balance 0–100
10 Level 0–127 0–127 Output Level
0–20 0–20
0–40 -20–+20
0–20 0–20
D100:0W– D0:100W
Adjusts the di erences in Pre Delay between each chorus sound.
Adjusts the di erence in modulation depth between each chorus sound.
Adjusts the di erence in stereo location between each chorus sound. 0: All chorus sounds will be in the center. 20: Each chorus sound will be spaced at 60 degree intervals relative to the center.
Volume balance between the direct sound (D) and the chorus sound (W)
●0141: Tremolo Chorus
This is a chorus e ect with added Tremolo (cyclic modulation of volume).
No Parameter Value Description
1 Pre Delay 0–125 0.0–100.0 ms
Chorus Rate
2
Mode
3 Chorus Rate 1–127
4 Chorus Rate 0–21 note
Chorus
5
Depth #1
Tremolo Rate
6
Mode
Tremolo
7
Rate #2
8 Tremolo Rate 0–21 note
Tremolo
9
Separation
Tremolo
10
Phase
11 Balance 0–100
12 Level 0–127 0–127 Output Level
0–1 Hz, note
0.05–10.00 HzModulation frequency of the
0–127 0–127
0–1 Hz, note
1–127
0–127 0–127 Spread of the tremolo e ect
0–90 0–180 deg Spread of the tremolo e ect
0.05–10.00 HzModulation frequency of the
D100:0W– D0:100W
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
chorus e ect (Hz)
Modulation frequency of the chorus e ect (note)
Modulation depth of the chorus e ect
When this is set to “note,” the e ect is synchronized with the tempo.
tremolo e ect (Hz)
Modulation frequency of the tremolo e ect (note)
Volume balance between the direct sound (D) and the tremolo chorus sound (W)
●0140: Hexa Chorus
Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.
No Parameter Value Description
1 Pre Delay 0–125 0.0–100.0 ms
2 Rate Mode 0–1 Hz, note
3 Rate #1 1–127
4 Rate 0–21 note
5 Depth #2 0–127 0–127 Depth of modulation
0.05–10.00 Hz
24
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
MIDI Implementation
●0143: Space D
This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus e ect.
No Parameter Value Description
1 Pre Delay 0–125
2 Rate Mode 0–1 Hz, note
3 Rate #1 1–127
4 Rate 0–21 note Frequency of modulation (note)
5 Depth #2 0–127 0–127 Depth of modulation
6 Phase 0–90 0–180 deg Spatial spread of the sound
7 Low Gain 0–30 -15–+15 dB Gain of the low range
8 High Gain 0–30 -15–+15 dB Gain of the high range
9 Balance 0–100
10 Level 0–127 0–127 Output Level
0.0–100.0 ms
0.05–10.00 Hz
D100:0W– D0:100W
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Volume balance between the direct sound (D) and the chorus sound (W)
●0144: 3D Chorus
This applies a 3D e ect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right.
No Parameter Value Description
Type of  lter O : No  lter is used
1 Filter Type 0–2 O  , Lpf, Hpf
2 Cuto Freq 0–16 200–8000 Hz Basic frequency of the  lter
3 Pre Delay 0–125 0.0–100.0 ms
4 Rate Mode 0–1 Hz, note
5 Rate #1 1–127
6 Rate 0–21 note
7 Depth #2 0–127 0–127
8 Phase 0–90 0–180 deg Spatial spread of the sound
9 Output Mode 0–1
10 Low Gain 0–30 -15–+15 dB Gain of the low range
11 High Gain 0–30 -15–+15 dB Gain of the high range
12 Balance 0–100
13 Level 0–127 0–127 Output Level
0.05–10.00 Hz
Speaker, Phones
D100:0W– D0:100W
Lpf: Cuts the frequency range above the Cuto Freq Hpf: Cuts the frequency range below the Cuto Freq
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Modulation depth of the chorus e ect
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D e ect will be achieved if you select Speaker when using speakers, or Phones when using headphones.
Volume balance between the direct sound (D) and the chorus sound (W)
●0145: 2Band Chorus
A chorus e ect that lets you apply an e ect independently to the low-frequency and high-frequency ranges.
No Parameter Value Description
1 Split Freq 0–16 200–8000 Hz
Low Pre
2
Delay
Low Rate
3
Mode
4 Low Rate 1–127
5 Low Rate 0–21 note
Low Depth
6
#1
7 Low Phase 0–90 0–180 deg
High Pre
8
Delay
High Rate
9
Mode
10 High Rate 1–127
11 High Rate 0–21 note
High Depth
12
#2
13 High Phase 0–90 0–180 deg
14 Balance 0–100
15 Level 0–127 0–127 Output volume
0–125 0.0–100.0 ms
0–1 Hz, note
0.05–10.00 Hz
0–127 0–127
0–125 0.0–100.0 ms
0–1 Hz, note
0.05–10.00 Hz
0–127 0–127
D100:0W– D0:100W
Frequency at which the low and high ranges will be divided
Delay time from when the original sound is heard to when the low-range chorus sound is heard
When this is set to “note,” the e ect is synchronized with the tempo.
Rate at which the low-range chorus sound is modulated (Hz)
Rate at which the low-range chorus sound is modulated (note)
Modulation depth for the low-range chorus sound
Spaciousness of the low-range chorus sound
Delay time from when the original sound is heard to when the high-range chorus sound is heard
When this is set to “note,” the e ect is synchronized with the tempo.
Rate at which the low-range chorus sound is modulated (Hz)
Rate at which the low-range chorus sound is modulated (note)
Modulation depth for the high-range chorus sound
Spaciousness of the high­range chorus sound
Volume balance of the original sound (D) and chorus sound (W)
25
MIDI Implementation
●0122: Rotary
The Rotary e ect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set indepen­dently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This e ect is most suitable for electric organ tones.
No Parameter Value Description
Simultaneously switch the rotational speed of the low frequency rotor and high
1 Speed #1 0–1 Slow, Fast
Woofer Slow
2
Speed
Woofer Fast
3
Speed
Woofer
4
Acceleration
5 Woofer Level 0–127 0–127
Tweeter Slow
6
Speed
Tweeter Fast
7
Speed
Tweeter
8
Acceleration
Tweeter
9
Level
Separation
10
#2
11 Level 0–127 0–127 Output Level
1–127
1–127
0–15 0–15
1–127
1–127
0–15 0–15
0–127 0–127
0–127 0–127
0.05–10.00 HzSlow speed (Slow) of the low
0.05–10.00 HzFast speed (Fast) of the low
0.05–10.00 Hz
0.05–10.00 Hz
frequency rotor. Slow: Slows down the rotation to the Slow Rate. Fast: Speeds up the rotation to the Fast Rate.
frequency rotor
frequency rotor
Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.
Volume of the low frequency rotor
Settings of the high frequency rotor The parameters are the same as for the low frequency rotor
Spatial dispersion of the sound
●012d: Rotary2
This type provides modi ed response for the rotary speaker, with the low end boosted further. This e ect is a descendant of the Roland VK Series’ built-in rotary speaker.
No Parameter Value Description
1 Speed #1 0–1 Slow, Fast
2 Brake #2 0–1 O , On
Woofer Slow
3
Speed
Woofer Fast
4
Speed
Woofer Trans
5
Up
Woofer Trans
6
Down
7 Woofer Level 0–127 0–127 Volume of the woofer
1–127
1–127
0–127 0–127
0–127 0–127
0.05–10.00 HzLow-speed rotation speed of
0.05–10.00 HzHigh-speed rotation speed of
26
Rotational speed of the rotating speaker
Switches the rotation of the rotary speaker. When this is turned on, the rotation will gradually stop. When it is turned o , the rotation will gradually resume.
the woofer
the woofer
Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.
Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.
No Parameter Value Description
Tweeter Slow
8
Speed
Tweeter Fast
9
Speed
Tweeter
10
Trans Up
Tweeter
11
Trans Down
Tweeter
12
Level
13 Spread 0–10 0–10
14 Low Gain 0–30 -15–+15 dB Gain of the low range
15 High Gain 0–30 -15–+15 dB Gain of the high range
16 Level 0–127 0–127 Output Level
1–127
1–127
0–127 0–127
0–127 0–127
0–127 0–127
0.05–10.00 Hz
0.05–10.00 Hz
Settings of the tweeter The parameters are the same as for the woofer.
Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out.
●0300: Rotary Multi
This is an e ect combining the VK series internal e ect with an organ e ect with the same features. It comprises vibrato/chorus, overdrive, and rotary e ects.
No Parameter Value Description
Vib/Cho
1
Switch
2 Vib/Cho Type 0–5
Vib/Cho
3
Vintage
Vib/Cho
4
Level
5 OD Switch 0–1 O , On Switches the overdrive e ect
6 OD Drive #2 0–127 0–127 Amount of distortion
7 OD Level 0–127 0–127 Overdrive e ect volume
Rotary
8
Switch
Rotary Speed
9
#1
10 R-Wf Slow Sp 1–127
11 R-Wf Fast Sp 1–127
12 R-Wf Accel 0–15 0–15
13 R-Wf Level 0–127 0–127 Low-frequency rotor volume
14 R-Tw Slow Sp 1–127
15 R-Tw Fast Sp 1–127
16 R-Tw Accel 0–15 0–15
17 R-Tw Level 0–127 0–127
Rotary
18
Separat
19 Rotary Level 0–127 0–127 Output volume
0–1 O , On
V-1, V-2, V-3, C-1, C-2, C-3
0–2 `50, `60, `70
0–127 0–127 Vibrato/chorus e ect volume
0–1 O , On Switches the rotary e ect
0–1 Slow, Fast
0.05–10.00 HzRate with low-frequency rotor
0.05–10.00 HzRate with low-frequency rotor
0.05–10.00 Hz
0.05–10.00 Hz
0–127 0–127
Switches the vibrato and chorus e ects
Vibrato and chorus e ect types V-1, V-2, V-3: Adds a wavering (vibrato) that is created by changes in the pitch.The e ect deepens as the value is increased C-1, C-2, C-3: Adds a fullness and breadth (chorus) to the sound.The e ect deepens as the value is increased.
This reproduces the subtle di erences in the vibrato and chorus e ects in organs built in di erent years.
Low- and high-frequency rotation speeds (Rate) Slow: (Slow Rate) Fast: (Fast Rate)
set to Slow rate
set to Fast rate
Speed at which the low­frequency rotor’s rotation rate changes when the rotation speed is switched
High-frequency rotor setting This parameter is the same as that for the low-frequency rotor.
Amount of breadth in the sound
MIDI Implementation
●015b: Stereo Delay1
This is a stereo delay.
No Parameter Value Description
Delay Left
1
Mode
2 Delay Left 0–127 1–1270 ms
3 Delay Left 0–21 note
Delay Right
4
Mode
5 Delay Right 0–127 1–1270 ms
6 Delay Right 0–21 note
7 Phase Left 0–1
8 Phase Right 0–1
Feedback
9
Mode
10 Feedback #1 49–89 0–+80%
11 HF Damp 0–17
12 Low Gain 0–30 -15–+15 dB
13 High Gain 0–30 -15–+15 dB
14 Balance #2 0–100
15 Level 0–127 0–127 Output level
0–1 ms, note
0–1 ms, note
Normal, Inverse
0–1
Normal, Cross
200–8000 Hz, Bypass
D100:0W– D0:100W
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the time until the delay sound is heard. (Hz)
Adjusts the time until the delay sound is heard. (note)
Settings of the Delay Right The parameters are the same as for the Delay Left.
Phase of the delay sound
Selects the way in which delay sound is fed back into the e ect. (See the  gures above.)
Adjusts the amount of the delay sound that’s fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect is  ltered out. If you don’t want to  lter out any high frequencies, set this parameter to Bypass.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
●015c: Stereo Delay2
This is a stereo delay.
No Parameter Value Description
Delay Left
1
Mode
2 Delay Left 0–127 1–1270 ms
3 Delay Left 0–21 note
Delay Right
4
Mode
5 Delay Right 0–127 1–1270 ms
6 Delay Right 0–21 note
7 Phase Left 0–1
8 Phase Right 0–1
Feedback
9
Mode
10 Feedback #1 49–89 0–+80%
11 HF Damp 0–17
12 Low Gain 0–30 -15–+15 dB
0–1 ms, note
0–1 ms, note
Normal, Inverse
0–1
Normal, Cross
200–8000 Hz, Bypass
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the time until the delay sound is heard. (Hz)
Adjusts the time until the delay sound is heard. (note)
Settings of the Delay Right The parameters are the same as for the Delay Left.
Phase of the delay sound
Selects the way in which delay sound is fed back into the e ect. (See the  gures above.)
Adjusts the amount of the delay sound that’s fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect is  ltered out. If you don’t want to  lter out any high frequencies, set this parameter to Bypass.
Gain of the low frequency range
No Parameter Value Description
13 High Gain 0–30 -15–+15 dB
14 Balance #2 0–100
15 Level 0–127 0-–27 Output level
D100:0W– D0:100W
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
●015d: Stereo Delay3
This is a stereo delay.
No Parameter Value Description
Delay Left
1
Mode
2 Delay Left 0–127 1–1270 ms
3 Delay Left 0–21 note
Delay Right
4
Mode
5 Delay Right 0–127 1–1270 ms
6 Delay Right 0–21 note
7 Phase Left 0–1
8 Phase Right 0–1
Feedback
9
Mode
10 Feedback #1 49–89 0–+80%
11 HF Damp 0–17
12 Low Gain 0–30 -15–+15 dB
13 High Gain 0–30 -15–+15 dB
14 Balance #2 0–100
15 Level 0–127 0–127 Output level
0–1 ms, note
0–1 ms, note
Normal, Inverse
0–1
Normal, Cross
200–8000 Hz, Bypass
D100:0W– D0:100W
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the time until the delay sound is heard. (Hz)
Adjusts the time until the delay sound is heard. (note)
Settings of the Delay Right The parameters are the same as for the Delay Left.
Phase of the delay sound
Selects the way in which delay sound is fed back into the e ect. (See the  gures above.)
Adjusts the amount of the delay sound that’s fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect is  ltered out. If you don’t want to  lter out any high frequencies, set this parameter to Bypass.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
27
MIDI Implementation
●015e: Stereo Delay4
This is a stereo delay.
No Parameter Value Description
Delay Left
1
Mode
2 Delay Left 0–127 1–1270 ms
3 Delay Left 0–21 note
Delay Right
4
Mode
5 Delay Right 0–127 1–1270 ms
6 Delay Right 0–21 note
7 Phase Left 0–1
8 Phase Right 0–1
Feedback
9
Mode
10 Feedback #1 49–89 0–+80%
11 HF Damp 0–17
12 Low Gain 0-30 -15–+15 dB
13 High Gain 0-30 -15–+15 dB
14 Balance #2 0-100
15 Level 0-127 0–127 Output level
0–1 ms, note
0–1 ms, note
Normal, Inverse
0–1
Normal, Cross
200–8000 Hz, Bypass
D100:0W– D0:100W
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the time until the delay sound is heard. (Hz)
Adjusts the time until the delay sound is heard. (note)
Settings of the Delay Right The parameters are the same as for the Delay Left.
Phase of the delay sound
Selects the way in which delay sound is fed back into the e ect. (See the  gures above.)
Adjusts the amount of the delay sound that’s fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect is  ltered out. If you don’t want to  lter out any high frequencies, set this parameter to Bypass.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
●015f: Stereo Delay5
This is a stereo delay.
No Parameter Value Description
Delay Left
1
Mode
2 Delay Left 0–127 1–1270 ms
3 Delay Left 0–21 note
Delay Right
4
Mode
5 Delay Right 0–127 1–1270 ms
6 Delay Right 0–21 note
7 Phase Left 0–1
8 Phase Right 0–1
Feedback
9
Mode
10 Feedback #1 49–89 0–+80%
11 HF Damp 0–17
12 Low Gain 0–30 -15–+15 dB
0–1 ms, note
0–1 ms, note
Normal, Inverse
0–1
Normal, Cross
200–8000 Hz, Bypass
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the time until the delay sound is heard. (Hz)
Adjusts the time until the delay sound is heard. (note)
Settings of the Delay Right The parameters are the same as for the Delay Left.
Phase of the delay sound
Selects the way in which delay sound is fed back into the e ect. (See the  gures above.)
Adjusts the amount of the delay sound that’s fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect is  ltered out. If you don’t want to  lter out any high frequencies, set this parameter to Bypass.
Gain of the low frequency range
No Parameter Value Description
13 High Gain 0–30 -15–+15 dB
14 Balance #2 0–100
15 Level 0–127 0–127 Output level
D100:0W– D0:100W
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
●0150: Monaural Delay
A delay that provides a long delay time.
No Parameter Value Description
1 Delay Mode 0–1 ms, note
2 Delay Time 0–127 1–2540 ms
Delay Time
3
#1
4 Phase 0–1
5 Feedback 49–89 0–+80%
6 HF Damp 0–17
7 Pan 0–127 L64–63R Panning of the delay sound
8 Low Gain 0–30 -15–+15 dB
9 High Gain 0–30 -15–+15 dB
10 Balance #2 0–100
11 Level 0–127 0–127 Output volume
0–21 note
NORMAL, INVERSE
200–8000 Hz, Bypass
D100:0W– D0:100W
When this is set to “note,” the e ect is synchronized with the tempo.
Delay time from when the original sound is heard to when the delay sound is heard (Hz)
Delay time from when the original sound is heard to when the delay sound is heard (note)
Phase of the delay (NORMAL: non-inverted, INVERSE: inverted)
Proportion of the delay sound that is to be returned to the input
Frequency at which the high-frequency content of the delayed sound will be cut (Bypass: no cut)
Amount of boost/cut for the high-frequency range
Amount of boost/cut for the high-frequency range
Volume balance of the original sound (D) and the delay sound (W)
28
MIDI Implementation
●0151: Modulation Delay
Adds modulation to the delayed sound.
No Parameter Value Description
Delay Left
1
Mode
2 Delay Left 0–127 1–1270 ms
3 Delay Left 0–21 note
Delay Right
4
Mode
5 Delay Right 0–127 1–1270 ms
6 Delay Right 0–21 note
Feedback
7
Mode
8 Feedback 49–89 0–+80%
9 HF Damp 0–17
10 Rate Mode 0–1 Hz, note
11 Rate 1–127
12 Rate 0–21 note
13 Depth #1 0–127 0–127 Depth of modulation
14 Phase 0–90 0–180 deg Spatial spread of the sound
15 Low Gain 0–30 -15–+15 dB
16 High Gain 0–30 -15–+15 dB
17 Balance #2 0–100
18 Level 0–127 0–127 Output level
0–1 ms, note
0–1 ms, note
0–1
Normal, Cross
200–8000 Hz, Bypass
0.05–10.00 Hz
D100:0W– D0:100W
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the time until the delay sound is heard. (Hz)
Adjusts the time until the delay sound is heard. (note)
Settings of the Delay Right The parameters are the same as for the Delay Left.
Selects the way in which delay sound is fed back into the e ect.
Adjusts the amount of the delay sound that’s fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect is  ltered out. If you don’t want to  lter out any high frequencies, set this parameter to Bypass.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
●0152: Triple Tap Delay
Produces three delay sounds; center, left and right.
No Parameter Value Description
Delay Left
1
Mode
2 Delay Left 0–127 1–2540 ms
3 Delay Left 0–21 note
Delay Right
4
Mode
5 Delay Right 0–127 1–2540 ms
6 Delay Right 0–21 note
Delay Center
7
Mode
8 Delay Center 0–127 1–2540 ms
9 Delay Center 0–21 note
Center
10
Feedback #1
0–1 ms, note
0–1 ms, note
0–1 ms, note
49–89 0–+80%
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the time until the delay sound is heard. (Hz)
Adjusts the time until the delay sound is heard. (note)
Settings of the Delay Right The parameters are the same as for the Delay Left.
Settings of the Delay Center The parameters are the same as for the Delay Left.
Adjusts the amount of the delay sound that’s fed back into the e ect.
No Parameter Value Description
Adjusts the frequency above which sound fed back to the
11 HF Damp 0–17
12 Left Level 0–127 0–127 Volume of each delay
13 Right Level 0–127 0–127 Volume of each delay
14 Center Level 0–127 0–127 Volume of each delay
15 Low Gain 0–30 -15–+15 dB
16 High Gain 0–30 -15–+15 dB
17 Balance #2 0–100
18 Level 0–127 0–127 Output level
200–8000 Hz, Bypass
D100:0W– D0:100W
e ect is  ltered out. If you do not want to  lter out any high frequencies, set this parameter to Bypass.
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound (D) and the delay sound (W)
●0157: 3D Delay
This applies a 3D e ect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right.
No Parameter Value Description
Delay Left
1
Mode
2 Delay Left 0–127 1–2540 ms
3 Delay Left 0–21 note
Delay Right
4
Mode
5 Delay Right 0–127 1–2540 ms
6 Delay Right 0–21 note
Delay Center
7
Mode
8 Delay Center 0–127 1–2540 ms
9 Delay Center 0–21 note
Center
10
Feedback #1
11 HF Damp 0–17
12 Left Level 0–127
13 Right Level 0–127
14 Center Level 0–127
15 Output Mode 0–1
16 Low Gain 0–30 -15–+15 dB Gain of the low range
17 High Gain 0–30 -15–+15 dB Gain of the high range
18 Balance #2 0–100
19 Level 0–127 0–127 Output Level
0–1 ms, note
0–1 ms, note
0–1 ms, note
49–89 0–+80%
200–8000 Hz, Bypass
0–127
Speaker, Phones
D100:0W– D0:100W
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the delay time from the direct sound until the delay sound is heard. (Hz)
Adjusts the delay time from the direct sound until the delay sound is heard. (note)
Settings of the Delay Right The parameters are the same as for the Delay Left.
Settings of the Delay Center The parameters are the same as for the Delay Left.
Adjusts the proportion of the delay sound that is fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect will be cut. If you do not want to cut the high frequencies, set this parameter to Bypass.
Output level of the delay sound
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D e ect will be achieved if you select Speaker when using speakers, or Phones when using headphones.
Volume balance between the direct sound (D) and the e ect sound (W)
29
MIDI Implementation
●0159: Tape Echo
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.
No Parameter Value Description
Combination of playback heads to use
1 Mode 0–6
Repeat Rate
2
#1
3 Intensity 0–127 0–127 Amount of delay repeats
4 Bass 0–30 -15–+15 dB
5 Treble 0–30 -15–+15 dB
6 Head S Pan 0–127
7 Head M Pan 0–127
8 Head L Pan 0–127
Tape
9
Distortion
Wow/Flutter
10
Rate
Wow/Flutter
11
Depth
12 Echo Level #2 0–127 0–127 Volume of the echo sound
13 Direct Level 0–127 0–127 Volume of the original sound
14 Level 0–127 0–127 Output level
0–127 0–127
0–5 0–5
0–127 0–127
0–127 0–127 Depth of wow/ utter
S, M, L, S+M, S+L, M+L, S+M+L
L64–63R
Select from three di erent heads with di erent delay times. S: short M: middle L: long
Tape speed Increasing this value will shorten the spacing of the delayed sounds.
Boost/cut for the lower range of the echo sound
Boost/cut for the upper range of the echo sound
Independent panning for the short, middle, and long playback heads
Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.
Speed of wow/ utter (complex variation in pitch caused by tape wear and rotational irregularity)
No Parameter Value Description
9 Low Gain 0–30 -15–+15 dB
10 High Gain 0–30 -15–+15 dB
11 Balance #2 0–100
12 Level 0–127 0–127 Output volume
D100:0W– D0:100W
Amount of boost/cut for the low-frequency range
Amount of boost/cut for the high-frequency range
Volume balance of the original sound (D) and the delay sound (W)
●0172: Lo-Fi
This is an e ect that intentionally degrades the sound quality for creative purposes.
No Parameter Value Description
Selects the type of  lter
Pre Filter
1
Type
2 LoFi Type #1 0–8 1–9
Post Filter
3
Type
Post Filter
4
Cuto
5 Low Gain 0–30 -15–+15 dB Gain of the low range
6 High Gain 0–30 -15–+15 dB Gain of the high range
7 Balance #2 0–100
8 Level 0–127 0–127 Output level
0–5 1–6
0–2 O , Lpf, Hpf
0–16 200–8000 Hz
D100:0W– D0:100W
applied to the sound before it passes through the Lo-Fi e ect.
Degrades the sound quality. The sound quality grows poorer as this value is increased.
Type of  lter O : no  lter is used Lpf: cuts the frequency range above the Cuto Hpf: cuts the frequency range below the Cuto
Basic frequency of the Post Filter
Volume balance between the direct sound (D) and the e ect sound (W)
●0175: Telephone
●015a: Reverse Delay
This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.
No Parameter Value Description
1 Threshold 0–127 0–127
2
3
4
5
6
7
8
Rev Delay Mode
Rev Delay Time #1
Rev Delay Time
Rev Delay Feedback
Rev Delay HF Damp
Rev Delay Pan
Rev Delay Level
0–1 ms, note
0–127 1–1270 ms
0–21 note
49–89 0–+80%
0–17
0–127 L64–63R
0–127 0–127
200–8000 Hz, Bypass
Volume at which the reverse delay will begin to be applied
When this is set to “note,” the e ect is synchronized with the tempo.
Delay time from when sound is input into the reverse delay until the delay sound is heard (Hz)
Delay time from when sound is input into the reverse delay until the delay sound is heard (note)
Proportion of the delay sound that is to be returned to the input of the reverse delay
Frequency at which the high-frequency content of the reverse-delayed sound will be cut (Bypass: no cut)
Panning of the reverse delay sound
Volume of the reverse delay sound
No Parameter Value Description
Voice Quality
1
#1
2 Treble 0–30 –15–+15 dB
3 Balance #2 0–100
4 Level 0–127 0–127 Output level
0–15 0–15
D100:0– D0:100W
Audio quality of the telephone voice
Bandwidth of the telephone voice
Volume balance between the direct sound (D) and the e ect sound (W)
30
MIDI Implementation
●0156: Gate Reverb
This is a special type of reverb in which the reverberant sound is cut o before its natural length.
No Parameter Value Description
Type of reverb Normal: conventional gated
Normal,
1 Type #1 0–3
2 Pre Delay 0–125 0.0–100.0 ms
3 Gate Time 0–99 5–500 ms
4 Low Gain 0–30 -15–+15 dB Gain of the low range
5 High Gain 0–30 -15–+15 dB Gain of the high range
6 Balance #2 0–100
7 Level 0–127 0–127 Output Level
Reverse, Sweep1, Sweep2
D100:0W– D0:100W
reverb Reverse: backwards reverb Sweep1: the reverberant sound moves from right to left Sweep2: the reverberant sound moves from left to right
Adjusts the delay time from the direct sound until the reverb sound is heard.
Adjusts the time from when the reverb is heard until it disappears.
Volume balance between the direct sound (D) and the reverb sound (W)
●0200: Overdrive Chorus
This e ect connects an overdrive and a chorus in series.
No Parameter Value Description
Overdrive
1
Drive
Overdrive
2
Pan
Chorus Pre
3
Delay
Chorus Rate
4
Mode
Chorus Rate
5
#1
6 Chorus Rate 0–21 note
Chorus
7
Depth
Chorus
8
Balance #2
9 Level 0–127 0–127 Output Level
0–127 0–127
0–127 L64–63R
0–125 0.0–100.0 ms
0–1 Hz, note
1–127
0–127 0–127 Depth of modulation
0–100
0.05–10.00 Hz
D100:0W– D0:100W
Degree of distortion Also changes the volume.
Stereo location of the overdrive sound
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).
●0201: Overdrive Flanger
This e ect connects an overdrive and a  anger in series.
No Parameter Value Description
1
2
3
4
5
Overdrive Drive
Overdrive Pan
Flanger Pre Delay
Flanger Rate Mode
Flanger Rate #1
0–127 0–127
0–127 L64–63R
0–125 0.0–100.0 ms
0–1 Hz, note
1–127
0.05–10.00 Hz
Degree of distortion Also changes the volume.
Stereo location of the overdrive sound
Adjusts the delay time from when the direct sound begins until the  anger sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
No Parameter Value Description
6 Flanger Rate 0–21 note
Flanger
7
Depth
Flanger
8
Feedback
Flanger
9
Balance #2
10 Level 0–127 0–127 Output Level
0–127 0–127 Depth of modulation
0–98 -98–+98%
0–100
D100:0W– D0:100W
Frequency of modulation (note)
Adjusts the proportion of the  anger sound that is fed back into the e ect. Negative (-) settings will invert the phase.
Adjusts the volume balance between the sound that is sent through the  anger (W) and the sound that is not sent through the  anger (D).
●0202: Overdrive Delay
This e ect connects an overdrive and a delay in series.
No Parameter Value Description
Overdrive
1
Drive #1
Overdrive
2
Pan
3 Delay Mode 0–1 ms, note
4 Delay Time 0–127 1–2540 ms
5 Delay Time 0–21 note
Delay
6
Feedback
Delay HF
7
Damp
Delay
8
Balance #2
9 Level 0–127 0–127 Output Level
0–127 0–127
0–127 L64–63R
49–89 0–+80%
0–17
0–100
200–8000 Hz, Bypass
D100:0W– D0:100W
Degree of distortion Also changes the volume.
Stereo location of the overdrive sound
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the delay time from the direct sound until the delay sound is heard. (ms)
Adjusts the delay time from the direct sound until the delay sound is heard. (note)
Adjusts the proportion of the delay sound that is fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect will be cut. If you do not want to cut the high frequencies, set this parameter to Bypass.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
●0203: Distortion Chorus
The parameters are essentially the same as in “Overdrive  Chorus,” with the exception of the following two. Overdrive Drive Distortion Drive Overdrive Pan  Distortion Pan
●0204: Distortion Flanger
The parameters are essentially the same as in “Overdrive  Flanger,” with the exception of the following two. Overdrive Drive Distortion Drive Overdrive Pan  Distortion Pan
●0205: Distortion Delay
The parameters are essentially the same as in “Overdrive Delay,” with the exception of the following two. Overdrive Drive Distortion Drive Overdrive Pan  Distortion Pan
31
MIDI Implementation
●0206: Enhancer  Chorus
This e ect connects an enhancer and a chorus in series.
No Parameter Value Description
Enhancer
1
Sens
2 Enhancer Mix 0–127 0–127
Chorus Pre
3
Delay
Chorus Rate
4
Mode
Chorus Rate
5
#1
6 Chorus Rate 0–21 note
Chorus
7
Depth
Chorus
8
Balance #2
9 Level 0–127 0–127 Output Level
0–127 0–127 Sensitivity of the enhancer
Level of the overtones generated by the enhancer
0–125 0.0–100.0 ms
0–1 Hz, note
1–127
0–127 0–127 Depth of modulation
0–100
0.05–10.00 Hz
D100:0W– D0:100W
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).
●0207: Enhancer Flanger
This e ect connects an enhancer and a  anger in series.
No Parameter Value Description
Enhancer
1
Sens
2 Enhancer Mix 0–127 0–127
Flanger Pre
3
Delay
Flanger Rate
4
Mode
Flanger Rate
5
#1
6 Flanger Rate 0–21 note
Flanger
7
Depth
Flanger
8
Feedback
Flanger
9
Balance #2
10 Level 0–127 0–127 Output Level
0–127 0–127 Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Adjusts the delay time from
0–125 0.0–100.0 ms
0–1 Hz, note
1–127
0–127 0–127 Depth of modulation
0–98 -98–+98%
0–100
0.05–10.00 Hz
D100:0W– D0:100W
when the direct sound begins until the  anger sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Adjusts the proportion of the  anger sound that is fed back into the e ect. Negative (-) settings will invert the phase.
Adjusts the volume balance between the sound that is sent through the  anger (W) and the sound that is not sent through the  anger (D).
●0208: Enhancer Delay
This e ect connects an enhancer and a delay in series.
No Parameter Value Description
Enhancer
1
Sens #1
2 Enhancer Mix 0–127 0–127
Delay Time
3
Mode
32
0–127 0–127 Sensitivity of the enhancer
Level of the overtones generated by the enhancer
0–1 ms, note
When this is set to “note,” the e ect is synchronized with the tempo.
No Parameter Value Description
4 Delay Time 0–127 1–2540 ms
5 Delay Time 0–21 note
Delay
6
Feedback
Delay HF
7
Damp
Delay
8
Balance #2
9 Level 0–127 0–127 Output Level
49–89 0–+80%
0–17
0–100
200–8000 Hz, Bypass
D100:0W– D0:100W
Adjusts the delay time from the direct sound until the delay sound is heard. (ms)
Adjusts the delay time from the direct sound until the delay sound is heard. (note)
Adjusts the proportion of the delay sound that is fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect will be cut. If you do not want to cut the high frequencies, set this parameter to Bypass.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
●0209: Chorus Delay
This e ect connects a chorus and a delay in series.
No Parameter Value Description
Chorus Pre
1
Delay
Chorus Rate
2
Mode
3 Chorus Rate 1–127
4 Chorus Rate 0–21 note
Chorus
5
Depth
Chorus
6
Balance #1
Delay Time
7
Mode
8 Delay Time 0–127 1–2540 ms
9 Delay Time 0–21 note
Delay
10
Feedback
Delay HF
11
Damp
Delay
12
Balance #2
13 Level 0–127 0–127 Output Level
0–125 0.0–100.0 ms
0–1 Hz, note
0.05–10.00 Hz
0–127 0–127 Depth of modulation
0–100
0–1 ms, note
49–89 0–+80%
0–17
0–100
D100:0W– D0:100W
200–8000 Hz, Bypass
D100:0W– D0:100W
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Volume balance between the direct sound (D) and the chorus sound (W)
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the delay time from the direct sound until the delay sound is heard. (ms)
Adjusts the delay time from the direct sound until the delay sound is heard. (note)
Adjusts the proportion of the delay sound that is fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect will be cut. If you do not want to cut the high frequencies, set this parameter to Bypass.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
MIDI Implementation
●020a: Flanger Delay
This e ect connects a  anger and a delay in series.
No Parameter Value Description
Adjusts the delay time from
Flanger Pre
1
Delay
Flanger Rate
2
Mode
3 Flanger Rate 1–127
4 Flanger Rate 0–21 note
Flanger
5
Depth
Flanger
6
Feedback
Flanger
7
Balance #1
Delay Time
8
Mode
9 Delay Time 0–127 1–2540 ms
10 Delay Time 0–21 note
Delay
11
Feedback
Delay HF
12
Damp
Delay
13
Balance #2
14 Level 0–127 0–127 Output Level
0–125 0.0–100.0 ms
0–1 Hz, note
0.05–10.00 Hz
0–127 0–127 Depth of modulation
0–98 -98–+98%
0–100
0–1 ms, note
49–89 0–+80%
0–17
0–100
D100:0W– D0:100W
200–8000 Hz, Bypass
D100:0W– D0:100W
when the direct sound begins until the  anger sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
Frequency of modulation (Hz)
Frequency of modulation (note)
Adjusts the proportion of the  anger sound that is fed back into the e ect. Negative (-) settings will invert the phase.
Volume balance between the direct sound (D) and the  anger sound ( W)
When this is set to “note,” the e ect is synchronized with the tempo.
Adjusts the delay time from the direct sound until the delay sound is heard. (ms)
Adjusts the delay time from the direct sound until the delay sound is heard. (note)
Adjusts the proportion of the delay sound that is fed back into the e ect.
Adjusts the frequency above which sound fed back to the e ect will be cut. If you do not want to cut the high frequencies, set this parameter to Bypass.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
No Parameter Value Description
Flanger Rate
8
Mode
9 Flanger Rate 1–127
10 Flanger Rate 0–21 note
Flanger
11
Depth
Flanger
12
Feedback
Flanger
13
Balance #2
14 Level 0–127 0–127 Output Level
0–1 Hz, note
0.05–10.00 HzModulation frequency of the
0–127 0–127
0–98 -98–+98%
0–100
D100:0W– D0:100W
When this is set to “note,” the e ect is synchronized with the tempo.
 anger e ect (Hz)
Modulation frequency of the  anger e ect (note)
Modulation depth of the  anger e ect
Adjusts the proportion of the  anger sound that is fed back into the e ect. Negative (-) settings will invert the phase.
Adjusts the volume balance between the sound that is sent through the  anger (W) and the sound that is not sent through the  anger (D).
●020b: Chorus Flanger
This e ect connects a chorus and a  anger in series.
No Parameter Value Description
Chorus Pre
1
Delay
Chorus Rate
2
Mode
3 Chorus Rate 1–127
4 Chorus Rate 0–21 note
Chorus
5
Depth
Chorus
6
Balance #1
Flanger Pre
7
Delay
0–125 0.0–100.0 ms
0–1 Hz, note
0.05–10.00 HzModulation frequency of the
0–127 0–127
0–100
0–125 0.0–100.0 ms
D100:0W– D0:100W
Adjusts the delay time from the direct sound until the chorus sound is heard.
When this is set to “note,” the e ect is synchronized with the tempo.
chorus e ect (Hz)
Modulation frequency of the chorus e ect (note)
Modulation depth of the chorus e ect
Volume balance between the direct sound (D) and the chorus sound (W)
Adjusts the delay time from when the direct sound begins until the  anger sound is heard.
33
MIDI Implementation
6. Tone List
[Piano] button
No. Name
1 G.Piano1 0 68 1 - - -
2 G.Piano2 16 67 1 - - -
3 G.Piano3 8 66 2 - - -
4 HonkyTon 0 64 4 - - -
5 P+ String 0 68 1 1 65 50
6 P+Choir 0 68 1 1 64 53
7 P+Bell 0 68 1 0 68 99
[Other] button
No Name MSB LSB PC No Name MSB LSB PC
1 VintgEP1 81 4 5 25 Strings1 0 71 50
2 VintgEP2 82 4 5 26 Strings2 0 64 49
3 PopElPno 16 67 5 27 Choir 1 8 64 53
4 St FM EP 16 4 5 28 Choir 2 8 66 53
5 FM ElPno 0 70 6 29 Choir 3 8 68 53
6 Hrpchrd1 0 66 7 30 JazzScat 0 65 55
7 Hrpchrd2 8 66 7 31 Oboe 8 4 69
8 Vibrphon 0 0 12 32 Clarinet 52 4 72
9 Celesta 0 0 9 33 FluteTrv 50 4 74
10 Harp 0 68 47 34 FlVibAtk 52 4 74
11 ChOrgan1 0 66 20 35 SoprnExp 8 4 65
12 ChOrgan2 8 69 20 36 BlowAlto 50 4 66
13 AllSkate 82 4 18 37 StTenSax 9 4 67
14 DynoRtry 82 4 19 38 Trumpet 0 4 57
15 FltOrgan 16 66 20 39 MutTrump 2 4 60
16 JzOrgan 0 70 19 40 Trombone 0 4 58
17 AcMaster 50 4 22 41 Tbs+Tb 43 4 62
18 Accordn 0 68 22 42 Ac.Brass 80 4 62
19 HandHarm 51 4 23 43 SynthPad 0 64 90
20 NylonGt 0 4 25 44 SynthBel 0 68 99
21 NylstrGt 0 0 25 45 Standard 111 4 6
22 StlstrGT 0 0 26 46 Electric 111 0 25
23 JzGuitar 80 4 27 47 Brush 111 4 46
24 WarmDrv 65 4 30
Upper Layer
MSB LSB PC MSB LSB PC
34
Digital Piano
Model F-120R, RP301R
Function... Transmitted Recognized Remarks
Basic Channel
Mode
Note Number :
Velocity
After Touch
Pitch Bend XO
Control Change
Program Change : True Number
System Exclusive OO
System Common
System Real Time
Aux Messages
Notes
Default Changed
Default Messages Altered
True Voice
Note On Note O
Key’s Channel’s
: Song Position : Song Select : Tune Request
: Clock : Commands
: All Sound O : Reset All Controllers : Local On/O : All Notes O : Active Sensing : System Reset
MIDI Implementation Chart
1 1–16
Mode 3 X **************
15–113 *************
O O
X X
O
0, 32
X
1
X
5
X
6, 38
X
7
X
10
O
11
O
64
X
65
O
66
O
67
X
84
O
91
X
93
X
98, 99
X
100, 101
0–127 **************
X X X
O O
X X X X O X
*1 O X is selectable by Sys Ex. *2 Recognized as M = 1 even if M
1–16 1–16
Mode 3 Mode 3, 4 (M = 1)
0–127 0–127
O O
O O
O O O O O O O O O O O O O (Reverb) O (Chorus) O O
O 0–127 Program No. 1–128
X X X
X X
O (120, 126, 127) O O O (123–125) O X
1.
*2
*1 *1
*1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1
*1 *1
Bank select Modulation Portamento time Data entry Volume Panpot Expression Hold 1 Portamento Sostenuto Soft Portamento control E ect1 depth E ect3 depth NRPN LSB, MSB RPN LSB, MSB
Date: Jun. 28, 2012
Version: 1.00
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
O : Yes X : No
35
Contents
MIDI Implementation 1
1. Receive Data 1
Channel Voice Messages 1
Note o 1
Note on 1
Polyphonic Key Pressure 1
Control Change 1
Bank Select (Controller Number 0, 32) 1
Modulation (Controller Number 1) 1
Portamento Time (Controller Number
5) 1
Data Entry (Controller Number 6, 38) 1
Volume (Controller Number 7) 1
Pan (Controller Number 10) 1
Expression (Controller Number 11) 1
Hold 1 (Controller Number 64) 2
Portamento (Controller Number 65) 2
Sostenuto (Controller Number 66) 2
Soft (Controller Number 67) 2
Filter Resonance (Controller Number
71) 2
Release Time (Controller Number 72) 2
Attack Time (Controller Number 73) 2
Cuto (Controller Number 74) 2
Decay Time (Controller Number 75) 2
Vibrato Rate (Controller Number 76) 2
Vibrato Depth (Controller Number 77) 2
Vibrato Delay (Controller Number 78) 2
Portamento Control (Controller Number 84) 3
E ect 1 (Reverb Send Level) (Controller Number 91) 3
E ect 3 (Chorus Send Level) (Control­ler Number 93) 3
NRPN MSB/LSB (Controller Number 98,
99) 3
RPN MSB/LSB (Controller Number 100,
101) 4
Program Change 4
Channel Pressure 4
Pitch Bend Change 4
Channel Mode Messages 4
All Sounds O (Controller number
120) 4
Reset All Controllers (Controller Number 121) 4
Local Control (Controller Number 122) 4
All Notes O (Controller Number 123) 5
OMNI OFF (Controller Number 124) 5
OMNI ON (Controller Number 125) 5
MONO (Controller Number 126) 5
POLY (Controller Number 127) 5
System Realtime Message 5
Active Sensing 5
System Exclusive Message 5
System Exclusive Messages Related to Mode Settings 5
GM1 System On 5
GM2 System On 5
GM System O 6
GS reset 6
Universal Realtime System Exclusive Messages 6
Master volume 6
Master Fine Tuning 6
36
Master Coarse Tuning 6
Global Parameter Control 6
Reverb Parameters 6
Chorus Parameters 7
Channel Pressure 7
Controller 7
Scale/Octave Tuning Adjust 7
Universal Non-realtime System Exclusive Messages 7
Identity Request Message 7
Data Transmission 8
Data Set 1 (DT1) 8
2. Transmit Data 8
Channel Voice Messages 8
Note O 8
Note On 8
Control Change 8
Bank Select (Controller Number 0, 32) 8
Hold 1 (Controller Number 64) 8
Sostenuto (Controller Number 66) 8
Soft (Controller Number 67) 8
E ect 1 (Reverb Send Level) (Controller Number 91) 8
Program Change 8
System Realtime Message 9
Realtime Clock 9
Start 9
Continue 9
Stop 9
Active Sensing 9
System Exclusive Messages 9
Identity Reply 9
3. Parameter Address Map (Model ID = 42H) 10
Address Block Map 10
Individual Parameters 10
System Parameters 10
Part Parameters 12
4. Supplementary Material 15
Decimal and Hexadecimal Table 15
Examples of Actual MIDI Messages 15
Example of an Exclusive Message and Calculating a Checksum 16
How to Calculate the Checksum (Hexadecimal Numbers are Indicated by ‘H’) 16
About Tuning 16
The Scale Tune Feature (Address: 40 1x
40) 16
Equal Temperament 16
Just Temperament (Keytone C) 16
Arabian Scale 16
5. E ect List 17
EFX Parameter Map 17
0100: Equalizer 17
0101: Spectrum 17
0102: Enhancer 18
0104: Isolator 18
0105: Low Boost 18
0106: High Pass Filter 18
0110: Overdrive 19
0111: Distortion 19
0112: Overdrive2 19
0113: Distortion2 19
0107: Speaker Simulator 19
Speci cations of each Speaker Type 19
0114: Guitar Amp Simulator 20
Speci cations of each Speaker Type 20
0120: Phaser 20
0129: Multi Stage Phaser 21
012a: In nite Phaser 21
0123: Stereo Flanger 21
0127: 3D Flanger 21
0128: 2Band Flanger 22
0121: Auto Wah 22
0103: Humanizer 22
012b: Ring Modulator 23
0125: Tremolo 23
0126: Auto Pan 23
012c: Slicer 23
0130: Compressor 23
0131: Limiter 24
0142: Stereo Chorus 24
0140: Hexa Chorus 24
0141: Tremolo Chorus 24
0143: Space D 25
0144: 3D Chorus 25
0145: 2Band Chorus 25
0122: Rotary 26
012d: Rotary2 26
0300: Rotary Multi 26
015b: Stereo Delay1 27
015c: Stereo Delay2 27
015d: Stereo Delay3 27
015e: Stereo Delay4 28
015f: Stereo Delay5 28
0150: Monaural Delay 28
0151: Modulation Delay 29
0152: Triple Tap Delay 29
0157: 3D Delay 29
0159: Tape Echo 30
015a: Reverse Delay 30
0172: Lo-Fi 30
0175: Telephone 30
0156: Gate Reverb 31
0200: Overdrive  Chorus 31
0201: Overdrive  Flanger 31
0202: Overdrive Delay 31
0203: Distortion Chorus 31
0204: Distortion Flanger 31
0205: Distortion Delay 31
0206: Enhancer Chorus 32
0207: Enhancer Flanger 32
0208: Enhancer Delay 32
0209: Chorus Delay 32
020a: Flanger Delay 33
020b: Chorus Flanger 33
6. Tone List 34
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